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丕爻鬲丕丿 倬鬲乇夭亘賵乇诏
亘丿蹖賳鈥屫池з� 賲丨鬲丕胤丕賳賴貙 賲孬賱 賲乇丿蹖 讴賴 夭禺賲 禺賵丿 乇丕 賵丕乇爻蹖 賲蹖鈥屭┵嗀� 丿賵亘丕乇賴 倬丕賵賱 乇丕 亘賴 丕賮讴丕乇卮 乇丕賴 賲蹖鈥屫囏�. 丿乇 噩夭蹖乇賴鈥屰� 蹖賱丕诏蹖賳貙 夭蹖乇 倬賵卮卮蹖 丕夭 禺丕讴 賵 亘乇賮貙 倬丕賵賱 賳丕丌乇丕賲 賵 爻乇爻禺鬲丕賳賴 亘賴 丨蹖丕鬲卮 丕丿丕賲賴 賲蹖鈥屫囏�. 亘丿賳 禺賵丿 乇丕 賲賳賯亘囟 讴乇丿賴 丕爻鬲貙 丕夭 爻乇賲丕貙 丕夭 賮讴乇 丕亘丿蹖鬲蹖 讴賴 亘丕蹖丿 鬲丕 乇賵夭 乇爻鬲丕禺蹖夭 鬲丕亘 丌賵乇丿貙 乇賵夭蹖 讴賴 賲賯亘乇賴鈥屬囏� 夭蹖乇 賵 乇賵 禺賵丕賴賳丿 卮丿 賵 诏賵乇賴丕 丿賴丕賳 禺賵丕賴賳丿 诏卮賵丿貙 賵 丕賵 趩賵賳 噩賲噩賲賴鈥屫й� 毓乇蹖丕賳 丿賴丕賳 亘乇 賴賲 賲蹖鈥屫池й屫� 賵 鬲丨賲賱 賲蹖鈥屭┵嗀� 丌賳趩賴 乇丕 讴賴 亘丕蹖丿 鬲丨賲賱 讴賳丿貙 鬲丕 禺賵乇卮蹖丿 丿賵亘丕乇賴 亘乇 丕賵 亘鬲丕亘丿 賵 毓囟賱丕鬲 爻爻鬲卮 乇丕 丌乇丕賲鈥屫⒇必з� 亘賴 丨乇讴鬲 丿乇丌賵乇丿. 讴賵丿讴 亘蹖賳賵丕!
讴賵鬲爻蹖 丿乇 丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 賴賲 亘賴 鬲丕乇蹖禺 賳馗乇 丿丕乇丿 賵 賴賲 亘賴 夭賳丿诏蹖 卮禺氐蹖鈥屫ж�. 倬爻乇 亘蹖爻鬲鈥屬堌迟団€� 爻丕賱賴鈥屰� 讴賵鬲爻蹖 亘賴 卮讴賱 賲卮讴賵讴蹖 丕夭 丕乇鬲賮丕毓 爻賯賵胤 讴乇丿 賵 噩丕賳 亘丕禺鬲 賵 丕蹖賳 讴鬲丕亘 倬丕爻禺 丕丿亘蹖 賳賵蹖爻賳丿賴 亘賴 丕蹖賳 亘禺卮 丕夭 夭賳丿诏蹖 禺賵蹖卮 丕爻鬲. 丕賵 賲蹖鈥屫堌ж池� 丿丕爻鬲丕賳蹖 丕鬲賵亘蹖賵诏乇丕賮蹖讴 丿乇亘丕乇賴鈥屰� 倬丿乇蹖 亘賳賵蹖爻丿 讴賴 倬爻乇卮 乇丕 丕夭 丿爻鬲 丿丕丿賴 丕爻鬲. 丕賲丕 賵丕賯毓蹖鬲 賮賯丿丕賳 趩賳丕賳 乇賳噩鈥屫ㄘж� 賵 爻賵夭丕賳賳丿賴 亘賵丿 讴賴 丕賵 賳賲蹖鈥屫堌з嗀池� 丌賳 乇丕 賱賲爻 讴賳丿. 倬爻 鬲氐賲蹖賲 诏乇賮鬲 丿爻鬲鈥屬举堌篡� 賮乇丕賴賲 讴賳丿 鬲丕 亘鬲賵丕賳丿 亘賴 丕蹖賳 卮蹖亍 蹖丕 禺賱兀 爻賵夭丕賳 丿爻鬲 亘夭賳丿 賵 丿乇 賳鬲蹖噩賴 亘賴 爻乇丕睾 賮蹖賵丿賵乇 丿丕爻鬲丕蹖賮爻讴蹖 乇賮鬲.
讴賵鬲爻蹖 丿乇 丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 賴賲 亘賴 鬲丕乇蹖禺 賳馗乇 丿丕乇丿 賵 賴賲 亘賴 夭賳丿诏蹖 卮禺氐蹖鈥屫ж�. 倬爻乇 亘蹖爻鬲鈥屬堌迟団€� 爻丕賱賴鈥屰� 讴賵鬲爻蹖 亘賴 卮讴賱 賲卮讴賵讴蹖 丕夭 丕乇鬲賮丕毓 爻賯賵胤 讴乇丿 賵 噩丕賳 亘丕禺鬲 賵 丕蹖賳 讴鬲丕亘 倬丕爻禺 丕丿亘蹖 賳賵蹖爻賳丿賴 亘賴 丕蹖賳 亘禺卮 丕夭 夭賳丿诏蹖 禺賵蹖卮 丕爻鬲. 丕賵 賲蹖鈥屫堌ж池� 丿丕爻鬲丕賳蹖 丕鬲賵亘蹖賵诏乇丕賮蹖讴 丿乇亘丕乇賴鈥屰� 倬丿乇蹖 亘賳賵蹖爻丿 讴賴 倬爻乇卮 乇丕 丕夭 丿爻鬲 丿丕丿賴 丕爻鬲. 丕賲丕 賵丕賯毓蹖鬲 賮賯丿丕賳 趩賳丕賳 乇賳噩鈥屫ㄘж� 賵 爻賵夭丕賳賳丿賴 亘賵丿 讴賴 丕賵 賳賲蹖鈥屫堌з嗀池� 丌賳 乇丕 賱賲爻 讴賳丿. 倬爻 鬲氐賲蹖賲 诏乇賮鬲 丿爻鬲鈥屬举堌篡� 賮乇丕賴賲 讴賳丿 鬲丕 亘鬲賵丕賳丿 亘賴 丕蹖賳 卮蹖亍 蹖丕 禺賱兀 爻賵夭丕賳 丿爻鬲 亘夭賳丿 賵 丿乇 賳鬲蹖噩賴 亘賴 爻乇丕睾 賮蹖賵丿賵乇 丿丕爻鬲丕蹖賮爻讴蹖 乇賮鬲.
280 pages, Paperback
First published January 1, 1994
165 people are currently reading
4214 people want to read
About the author
J.M. Coetzee
179听books5,121听followersJ. M. Coetzee is a South African writer, essayist, and translator, widely regarded as one of the most influential authors of contemporary literature. His works, often characterized by their austere prose and profound moral and philosophical depth, explore themes of colonialism, identity, power, and human suffering. Born and raised in South Africa, he later became an Australian citizen and has lived in Adelaide since 2002.
Coetzee鈥檚 breakthrough novel, Waiting for the Barbarians (1980), established him as a major literary voice, while Life & Times of Michael K (1983) won him the first of his two Booker Prizes. His best-known work, Disgrace (1999), a stark and unsettling examination of post-apartheid South Africa, secured his second Booker Prize, making him the first author to win the award twice. His other notable novels include Foe, Age of Iron, The Master of Petersburg, Elizabeth Costello, and The Childhood of Jesus, many of which incorporate allegorical and metafictional elements.
Beyond fiction, Coetzee has written numerous essays and literary critiques, contributing significantly to discussions on literature, ethics, and history. His autobiographical trilogy鈥擝oyhood, Youth, and Summertime鈥攂lends memoir with fiction, offering a fragmented yet insightful reflection on his own life. His literary achievements were recognized with the Nobel Prize in Literature in 2003.
A deeply private individual, Coetzee avoids public life and rarely gives interviews, preferring to let his work speak for itself.
Coetzee鈥檚 breakthrough novel, Waiting for the Barbarians (1980), established him as a major literary voice, while Life & Times of Michael K (1983) won him the first of his two Booker Prizes. His best-known work, Disgrace (1999), a stark and unsettling examination of post-apartheid South Africa, secured his second Booker Prize, making him the first author to win the award twice. His other notable novels include Foe, Age of Iron, The Master of Petersburg, Elizabeth Costello, and The Childhood of Jesus, many of which incorporate allegorical and metafictional elements.
Beyond fiction, Coetzee has written numerous essays and literary critiques, contributing significantly to discussions on literature, ethics, and history. His autobiographical trilogy鈥擝oyhood, Youth, and Summertime鈥攂lends memoir with fiction, offering a fragmented yet insightful reflection on his own life. His literary achievements were recognized with the Nobel Prize in Literature in 2003.
A deeply private individual, Coetzee avoids public life and rarely gives interviews, preferring to let his work speak for itself.
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Displaying 1 - 30 of 389 reviews
August 16, 2021
The Master of Petersburg is a dark phantasmagoria in the style of 鈥� And at the same time J.M. Coetzee manages to recreate the unique atmosphere of and of 鈥�
After the death of his stepson Fyodor Dostoevsky goes to St Petersburg and arriving there, he feels as if he descended into the underworld鈥� He meets many people but he can鈥檛 shed the sensation of irreality and so he remains under the impression that he is wandering among shadows鈥�
Shadows surround him and some shadows he encounters are possessed by demons of revolt and destruction鈥�
In this world, the possessed often succeed in winning but they always end up badly.
He thinks of Orpheus walking backwards step by step, whispering the dead woman's name, coaxing her out of the entrails of hell; of the wife in graveclothes with the blind, dead eyes following him, holding out limp hands before her like a sleepwalker. No flute, no lyre, just the word, the one word, over and over. When death cuts all other links, there remains still the name. Baptism: the union of a soul with a name, the name it will carry into eternity. Barely breathing, he forms the syllables again: Pavel.
After the death of his stepson Fyodor Dostoevsky goes to St Petersburg and arriving there, he feels as if he descended into the underworld鈥� He meets many people but he can鈥檛 shed the sensation of irreality and so he remains under the impression that he is wandering among shadows鈥�
Visions that come and go, swift, ephemeral. He is not in control of himself. Carefully he pushes paper and pen to the far end of the table and lays his head on his hands. If I am going to faint, he thinks, let me faint at my post鈥�
Why this plodding chase across empty country after the rumour of a ghost, the ghost of a rumour?
Shadows surround him and some shadows he encounters are possessed by demons of revolt and destruction鈥�
In this world, the possessed often succeed in winning but they always end up badly.
September 3, 2024
O biografie alternativ膬 a lui Dostoievski. Altfel spus, o fantezie biografic膬 卯n stilul 葯i cu mijloacele prozatorului rus.
M-a intrigat mereu pasiunea lui Coetzee pentru literatura rus膬. J.M. Coetzee scrie, de obicei, o proz膬 rece, precis膬, nonafectiv膬, lipsit膬 de exalt膬ri 葯i efuziuni, complet diferit膬 de proza lui Dostoievski. 脦ntre cei doi scriitori exist膬, dac膬 nu gre葯esc, o radical膬 deosebire. Coetzee e minu葲ios, glacial, precis, logic, Dostoievski - 卯nfl膬c膬rat, tulbure, obscur. Cele dou膬 atitudini fa葲膬 de scris se resping.
Episoadele 鈥瀝use葯ti鈥� din Dezonoare (protagonistul 卯ngenuncheaz膬 葯i 卯葯i cere iertare familiei fa葲膬 de care a gre葯it), din Anii de 葯coal膬 ai lui Isus (paznicul muzeului are o rela葲ie zbuciumat膬 cu profesoara lui David 葯i, 卯n final, o ucide) nu se potrivesc cu 卯ntregul. Aceste intruziuni 卯n proza lui Coetzee s卯nt, 卯n opinia mea, ca focul 葯i apa, nu merg 卯mpreun膬. Dar nu exist膬 nici o 卯ndoial膬 c膬 au fost deliberate. Ceea ce, fire葯te, nu m膬 ajut膬 s膬 le g膬sesc un rost.
M膬 卯ntorc la Maestrul din Petersburg. J.M. Coetzee rescrie anul 1869 din biografia lui Dostoievski. 脦n realitate, prozatorul se afl膬 la Dresda 葯i redacta Idiotul; 卯n fic葲iune, el se 卯ntoarce la Sankt Petersburg pentru a afla motivele veritabile ale mor葲ii fiului s膬u vitreg, Pavel Isaiev. Nu are sens s膬 precizez c膬 adev膬ratul Pasha (un ins, mai cur卯nd, 葯ters 葯i antipatic) tr膬ia bine-mersi 卯n capitala Rusiei 葯i c膬 el i-a supravie葲uit scriitorului. Nu s-a sinucis 葯i nici nu a fost asasinat de membrii vreunui grup nihilist.
A葯 nota c膬 鈥瀖aestrul鈥� e mult mai dostoievskian dec卯t a fost Dostoievski 卯nsu葯i. De altfel, majoritatea biografilor fac gre葯eala de a-l prezenta pe Dostoievski dup膬 chipul 葯i asem膬narea personajelor sale. 脦n cartea lui J.M. Coetzee, maestrul e un amestec 卯ntre Raskolnikov 葯i Stavroghin. El 卯ncearc膬 s膬-葯i 卯n葲eleag膬 fiul 葯i, 卯n acela葯i timp, s膬-葯i justifice pozi葲ia anti-nihilist膬. E mult mai curios 葯i tolerant dec卯t a fost 卯n realitate Dostoievski, dup膬 isp膬葯irea pedepsei. Opiniile 鈥瀝adicalilor鈥� sf卯r葯esc prin a-l fascina prin extremismul 葯i nebunia lor v膬dit膬. 脦n fa葲a lor, scriitorul se simte vulnerabil:
Romanul parodic al lui Coetzee e, p卯n膬 la urm膬, un elogiu al scepticismului 葯i re葲inerii... (4.01.23, miercuri)
M-a intrigat mereu pasiunea lui Coetzee pentru literatura rus膬. J.M. Coetzee scrie, de obicei, o proz膬 rece, precis膬, nonafectiv膬, lipsit膬 de exalt膬ri 葯i efuziuni, complet diferit膬 de proza lui Dostoievski. 脦ntre cei doi scriitori exist膬, dac膬 nu gre葯esc, o radical膬 deosebire. Coetzee e minu葲ios, glacial, precis, logic, Dostoievski - 卯nfl膬c膬rat, tulbure, obscur. Cele dou膬 atitudini fa葲膬 de scris se resping.
Episoadele 鈥瀝use葯ti鈥� din Dezonoare (protagonistul 卯ngenuncheaz膬 葯i 卯葯i cere iertare familiei fa葲膬 de care a gre葯it), din Anii de 葯coal膬 ai lui Isus (paznicul muzeului are o rela葲ie zbuciumat膬 cu profesoara lui David 葯i, 卯n final, o ucide) nu se potrivesc cu 卯ntregul. Aceste intruziuni 卯n proza lui Coetzee s卯nt, 卯n opinia mea, ca focul 葯i apa, nu merg 卯mpreun膬. Dar nu exist膬 nici o 卯ndoial膬 c膬 au fost deliberate. Ceea ce, fire葯te, nu m膬 ajut膬 s膬 le g膬sesc un rost.
M膬 卯ntorc la Maestrul din Petersburg. J.M. Coetzee rescrie anul 1869 din biografia lui Dostoievski. 脦n realitate, prozatorul se afl膬 la Dresda 葯i redacta Idiotul; 卯n fic葲iune, el se 卯ntoarce la Sankt Petersburg pentru a afla motivele veritabile ale mor葲ii fiului s膬u vitreg, Pavel Isaiev. Nu are sens s膬 precizez c膬 adev膬ratul Pasha (un ins, mai cur卯nd, 葯ters 葯i antipatic) tr膬ia bine-mersi 卯n capitala Rusiei 葯i c膬 el i-a supravie葲uit scriitorului. Nu s-a sinucis 葯i nici nu a fost asasinat de membrii vreunui grup nihilist.
A葯 nota c膬 鈥瀖aestrul鈥� e mult mai dostoievskian dec卯t a fost Dostoievski 卯nsu葯i. De altfel, majoritatea biografilor fac gre葯eala de a-l prezenta pe Dostoievski dup膬 chipul 葯i asem膬narea personajelor sale. 脦n cartea lui J.M. Coetzee, maestrul e un amestec 卯ntre Raskolnikov 葯i Stavroghin. El 卯ncearc膬 s膬-葯i 卯n葲eleag膬 fiul 葯i, 卯n acela葯i timp, s膬-葯i justifice pozi葲ia anti-nihilist膬. E mult mai curios 葯i tolerant dec卯t a fost 卯n realitate Dostoievski, dup膬 isp膬葯irea pedepsei. Opiniile 鈥瀝adicalilor鈥� sf卯r葯esc prin a-l fascina prin extremismul 葯i nebunia lor v膬dit膬. 脦n fa葲a lor, scriitorul se simte vulnerabil:
鈥濶oi nu vorbim, nu pl卯ngem, nu ne g卯ndim o mie de ani la pe de-o parte 葯i pe de alt膬 parte, noi chiar facem... 脦nc膬 o 卯ntrebare de葯teapt膬! 脦nc膬 o pierdere de vreme! Zilele de葯tept膬ciunii s卯nt num膬rate. De葯tept膬ciunea e ceva de care o s膬 ne descotorosim鈥� (pp.93-94).
Romanul parodic al lui Coetzee e, p卯n膬 la urm膬, un elogiu al scepticismului 葯i re葲inerii... (4.01.23, miercuri)
March 7, 2025
丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 賳賵卮鬲賴 噩丕賳 賲讴爻賵賱 讴賵鬲爻蹖 貙 讴鬲丕亘蹖 丕蹖爻鬲 倬蹖趩蹖丿賴 丕賲丕 丿賱賳卮蹖賳 賵 噩匕丕亘 貙 賳賵蹖爻賳丿賴 鬲丕乇蹖禺 賵 丿丕爻鬲丕賳 乇丕 亘丕 賴賲 丌賲蹖禺鬲賴 賵 賳鬲蹖噩賴 讴丕乇 丿丕爻鬲丕賳蹖 卮丿賴 讴賴 丕诏乇趩賴 賲賲讴賳 丕爻鬲 賲亘賴賲 賵 诏蹖噩 讴賳賳丿賴 亘賴 賳馗乇 丌蹖丿 丕賲丕 讴鬲丕亘蹖 丕蹖爻鬲 禺賵丕賳丿賳蹖 賵 丕賱亘鬲賴 賮乇丕賲賵卮 賳卮丿賳蹖 .
讴賵鬲爻蹖 丿乇 丕蹖賳 讴鬲丕亘 丕蹖丿賴 丿乇禺卮丕賳蹖 乇丕 亘蹖丕賳 讴乇丿賴 貙 丕賵 夭賳丿诏蹖 禺賵丿 亘賴 毓賳賵丕賳 倬丿乇蹖 讴賴 倬爻乇 禺賵丿 乇丕 丕夭 丿爻鬲 丿丕丿賴 亘丕 夭賳丿诏蹖 賮卅賵丿賵乇 丿丕爻鬲丕蹖賵賮爻讴蹖 讴亘蹖乇 倬蹖賵賳丿 夭丿賴 貙 丕爻鬲丕丿 賮卅賵丿賵乇 丿乇 賲賯丕賲 倬丿乇蹖 賮乇夭賳丿 亘丕禺鬲賴 亘丕 亘賴 倬鬲乇夭亘賵乇诏 乇賮鬲賴 鬲丕 丿乇蹖丕亘丿 趩賴 亘乇 爻乇 倬爻乇卮 鈥� 倬丕賵賱 丌賲丿賴 丕爻鬲 . 賮乇丿 丿蹖诏乇蹖 賴賲 讴賴 丿乇 丿丕爻鬲丕賳 噩賳丕亘 讴賵鬲爻蹖 丨囟賵乇 丿丕乇丿 爻乇诏卅蹖 賳趩丕蹖賮 鈥� 丌賳丕乇卮蹖爻鬲 賲卮賴賵乇 丕爻鬲 讴賴 胤亘蹖毓鬲丕 丿蹖丿丕乇 賳趩丕蹖賮 亘丕 丿丕爻鬲丕蹖賮爻讴蹖 賳賯胤賴 丕賵噩 丿丕爻鬲丕賳 乇丕 乇賯賲 夭丿賴 丕爻鬲 .
讴鬲丕亘 賱丕蹖賴 賴丕蹖 賮賱爻賮蹖 貙 丕丨爻丕爻蹖 貙 爻蹖丕爻蹖 賵 丕噩鬲賲丕毓蹖 夭蹖丕丿蹖 丿丕乇丿 貙 蹖讴蹖 丕夭 丌賳丕賳 亘丿賵賳 卮讴 丕丨爻丕爻丕鬲 倬丕讴 倬丿乇蹖 賳賵蹖爻賳丿賴 丕爻鬲 丿乇 賮賯丿丕賳 賮乇夭賳丿 禺賵蹖卮 貙 讴賴 丿乇 丿丕爻鬲丕賳 丕夭 丿賱 丿丕爻鬲丕蹖賵賮爻讴蹖 噩丕乇蹖 卮丿賴 丕爻鬲 亘賴 诏賵賳賴 丕蹖 讴賴 卮賵乇 賵 丕丨爻丕爻 賳賵蹖爻賳丿賴 丿丕睾 丿蹖丿賴 乇丕 賮乇蹖丕丿 賲蹖 夭賳丿 . 賴賲 趩賳蹖賳 噩賳丕亘 讴賵鬲爻蹖 亘賴 卮讴賱蹖 丕爻鬲丕丿丕賳賴 賵亘丕 賲賴丕乇鬲 賮囟丕蹖 爻乇丿 丿丕爻鬲丕賳 噩賳丕蹖鬲 賵 賲讴丕賮丕鬲 乇丕 鬲乇爻蹖賲 讴乇丿賴 貙 卮丕蹖丿 賲賴賲鬲乇蹖賳 賲卮丕亘賴鬲 丌賳 丿乇 禺賵丿 賮乇賵卮蹖 夭賳丕賳 賵 讴賵丿讴丕賳 賵 賮賯乇 禺丕賳賲丕賳 爻賵夭蹖 亘丕卮丿 讴賴 丿乇 丿丕爻鬲丕賳 丿蹖丿賴 賲蹖 卮賵丿 ( 禺賵丕賳賳丿賴 丿乇 丕蹖賳 亘禺卮 丿丕爻鬲丕賳 亘賴 氐賵乇鬲 讴丕賲賱 賲丨賵 賳亘賵睾 噩丕賳 賲讴爻賵賱 讴賵鬲爻蹖 賲蹖 卮賵丿 讴賴 趩诏賵賳賴 亘丕 賲賴丕乇鬲 丿丕爻鬲丕蹖賵賮爻讴蹖 乇丕 丿乇 丿賱 讴鬲丕亘 禺賵丿 丕賵 蹖毓賳蹖 噩賳丕蹖鬲 賵 賲讴丕賮丕鬲 賯乇丕乇 丿丕丿賴 賵 亘賴 丕蹖賳 鬲乇鬲蹖亘 乇賲丕賳蹖 丿乇 乇賲丕賳蹖 丿蹖诏乇 賳賵卮鬲賴 丕爻鬲 ) .
丌丿賲賴丕蹖 鬲賳賴丕 貙 賲氐蹖亘鬲 丿蹖丿賴 賵 丿賱鬲賳诏 貙 賮囟丕賴丕蹖 爻乇丿 賵 丕賱亘鬲賴 噩丕賲毓賴 丕爻鬲亘丿丕丿蹖 賵 賲乇丿賲 丕爻鬲亘丿丕丿 夭丿賴 亘爻蹖丕乇 丿乇 讴鬲丕亘 丿蹖丿賴 賲蹖 卮賵賳丿 貙 诏賵蹖丕 賳賵蹖爻賳丿賴 亘賴 丕爻鬲賯亘丕賱 乇賵蹖丿丕丿賴丕蹖蹖 丿乇 丌蹖賳丿賴 乇賮鬲賴 貙 乇禺丿丕丿賴丕蹖蹖 丕夭 噩賳爻 丕賳賯賱丕亘 .
讴賵鬲爻蹖 讴鬲丕亘 乇丕 亘賴 诏賵賳賴 丕蹖 亘丕 卮讴賵賴 亘賴 丕鬲賲丕賲 乇爻丕賳丿賴 貙 丿丕爻鬲丕蹖賵賮爻讴蹖 爻乇卮丕乇 丕夭 丕賱賴丕賲丕鬲蹖 讴賴 丿乇 倬鬲乇夭亘賵乇诏 亘賴 丕賵 卮丿賴 卮乇賵毓 亘賴 賳賵卮鬲賳 讴鬲丕亘蹖 賲蹖 讴賳丿 貙 蹖讴蹖 丕夭 卮丕賴讴丕乇賴丕蹖卮 乇丕 貙丕賵 卮乇賵毓 亘賴 賳诏丕乇卮 乇賲丕賳 毓馗蹖賲 卮蹖丕胤蹖賳 賲蹖 讴賳丿 .
禺賵丕賳丿賳 讴鬲丕亘 丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 亘乇丕蹖 禺賵丕賳賳丿賴 丕蹖 毓賱丕賯賴 賲賳丿 亘賴 丕丿亘蹖丕鬲 亘爻蹖丕乇 睾賳蹖 乇賵爻蹖賴 賵 丌孬丕乇 丿丕爻鬲丕蹖賵賮爻讴蹖 鬲噩乇亘賴 丕蹖 亘蹖 賲丕賳賳丿蹖 禺賵丕賴丿 亘賵丿 貙 賳亘賵睾 賮乇丕賵丕賳 噩丕賳 讴賵鬲爻蹖 亘賴 賴賲乇丕賴 賳诏丕乇卮蹖 卮亘蹖賴 亘賴 丌孬丕乇 丕爻鬲丕丿 丿丕爻鬲丕蹖賵賮爻讴蹖 丕蹖賳 讴鬲丕亘 乇丕 亘賴 丕孬乇蹖 賲鬲賮丕賵鬲 賵 禺賵丕賳丿賳蹖 鬲亘丿蹖賱 讴乇丿賴 丕爻鬲 .
讴賵鬲爻蹖 丿乇 丕蹖賳 讴鬲丕亘 丕蹖丿賴 丿乇禺卮丕賳蹖 乇丕 亘蹖丕賳 讴乇丿賴 貙 丕賵 夭賳丿诏蹖 禺賵丿 亘賴 毓賳賵丕賳 倬丿乇蹖 讴賴 倬爻乇 禺賵丿 乇丕 丕夭 丿爻鬲 丿丕丿賴 亘丕 夭賳丿诏蹖 賮卅賵丿賵乇 丿丕爻鬲丕蹖賵賮爻讴蹖 讴亘蹖乇 倬蹖賵賳丿 夭丿賴 貙 丕爻鬲丕丿 賮卅賵丿賵乇 丿乇 賲賯丕賲 倬丿乇蹖 賮乇夭賳丿 亘丕禺鬲賴 亘丕 亘賴 倬鬲乇夭亘賵乇诏 乇賮鬲賴 鬲丕 丿乇蹖丕亘丿 趩賴 亘乇 爻乇 倬爻乇卮 鈥� 倬丕賵賱 丌賲丿賴 丕爻鬲 . 賮乇丿 丿蹖诏乇蹖 賴賲 讴賴 丿乇 丿丕爻鬲丕賳 噩賳丕亘 讴賵鬲爻蹖 丨囟賵乇 丿丕乇丿 爻乇诏卅蹖 賳趩丕蹖賮 鈥� 丌賳丕乇卮蹖爻鬲 賲卮賴賵乇 丕爻鬲 讴賴 胤亘蹖毓鬲丕 丿蹖丿丕乇 賳趩丕蹖賮 亘丕 丿丕爻鬲丕蹖賮爻讴蹖 賳賯胤賴 丕賵噩 丿丕爻鬲丕賳 乇丕 乇賯賲 夭丿賴 丕爻鬲 .
讴鬲丕亘 賱丕蹖賴 賴丕蹖 賮賱爻賮蹖 貙 丕丨爻丕爻蹖 貙 爻蹖丕爻蹖 賵 丕噩鬲賲丕毓蹖 夭蹖丕丿蹖 丿丕乇丿 貙 蹖讴蹖 丕夭 丌賳丕賳 亘丿賵賳 卮讴 丕丨爻丕爻丕鬲 倬丕讴 倬丿乇蹖 賳賵蹖爻賳丿賴 丕爻鬲 丿乇 賮賯丿丕賳 賮乇夭賳丿 禺賵蹖卮 貙 讴賴 丿乇 丿丕爻鬲丕賳 丕夭 丿賱 丿丕爻鬲丕蹖賵賮爻讴蹖 噩丕乇蹖 卮丿賴 丕爻鬲 亘賴 诏賵賳賴 丕蹖 讴賴 卮賵乇 賵 丕丨爻丕爻 賳賵蹖爻賳丿賴 丿丕睾 丿蹖丿賴 乇丕 賮乇蹖丕丿 賲蹖 夭賳丿 . 賴賲 趩賳蹖賳 噩賳丕亘 讴賵鬲爻蹖 亘賴 卮讴賱蹖 丕爻鬲丕丿丕賳賴 賵亘丕 賲賴丕乇鬲 賮囟丕蹖 爻乇丿 丿丕爻鬲丕賳 噩賳丕蹖鬲 賵 賲讴丕賮丕鬲 乇丕 鬲乇爻蹖賲 讴乇丿賴 貙 卮丕蹖丿 賲賴賲鬲乇蹖賳 賲卮丕亘賴鬲 丌賳 丿乇 禺賵丿 賮乇賵卮蹖 夭賳丕賳 賵 讴賵丿讴丕賳 賵 賮賯乇 禺丕賳賲丕賳 爻賵夭蹖 亘丕卮丿 讴賴 丿乇 丿丕爻鬲丕賳 丿蹖丿賴 賲蹖 卮賵丿 ( 禺賵丕賳賳丿賴 丿乇 丕蹖賳 亘禺卮 丿丕爻鬲丕賳 亘賴 氐賵乇鬲 讴丕賲賱 賲丨賵 賳亘賵睾 噩丕賳 賲讴爻賵賱 讴賵鬲爻蹖 賲蹖 卮賵丿 讴賴 趩诏賵賳賴 亘丕 賲賴丕乇鬲 丿丕爻鬲丕蹖賵賮爻讴蹖 乇丕 丿乇 丿賱 讴鬲丕亘 禺賵丿 丕賵 蹖毓賳蹖 噩賳丕蹖鬲 賵 賲讴丕賮丕鬲 賯乇丕乇 丿丕丿賴 賵 亘賴 丕蹖賳 鬲乇鬲蹖亘 乇賲丕賳蹖 丿乇 乇賲丕賳蹖 丿蹖诏乇 賳賵卮鬲賴 丕爻鬲 ) .
丌丿賲賴丕蹖 鬲賳賴丕 貙 賲氐蹖亘鬲 丿蹖丿賴 賵 丿賱鬲賳诏 貙 賮囟丕賴丕蹖 爻乇丿 賵 丕賱亘鬲賴 噩丕賲毓賴 丕爻鬲亘丿丕丿蹖 賵 賲乇丿賲 丕爻鬲亘丿丕丿 夭丿賴 亘爻蹖丕乇 丿乇 讴鬲丕亘 丿蹖丿賴 賲蹖 卮賵賳丿 貙 诏賵蹖丕 賳賵蹖爻賳丿賴 亘賴 丕爻鬲賯亘丕賱 乇賵蹖丿丕丿賴丕蹖蹖 丿乇 丌蹖賳丿賴 乇賮鬲賴 貙 乇禺丿丕丿賴丕蹖蹖 丕夭 噩賳爻 丕賳賯賱丕亘 .
讴賵鬲爻蹖 讴鬲丕亘 乇丕 亘賴 诏賵賳賴 丕蹖 亘丕 卮讴賵賴 亘賴 丕鬲賲丕賲 乇爻丕賳丿賴 貙 丿丕爻鬲丕蹖賵賮爻讴蹖 爻乇卮丕乇 丕夭 丕賱賴丕賲丕鬲蹖 讴賴 丿乇 倬鬲乇夭亘賵乇诏 亘賴 丕賵 卮丿賴 卮乇賵毓 亘賴 賳賵卮鬲賳 讴鬲丕亘蹖 賲蹖 讴賳丿 貙 蹖讴蹖 丕夭 卮丕賴讴丕乇賴丕蹖卮 乇丕 貙丕賵 卮乇賵毓 亘賴 賳诏丕乇卮 乇賲丕賳 毓馗蹖賲 卮蹖丕胤蹖賳 賲蹖 讴賳丿 .
禺賵丕賳丿賳 讴鬲丕亘 丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 亘乇丕蹖 禺賵丕賳賳丿賴 丕蹖 毓賱丕賯賴 賲賳丿 亘賴 丕丿亘蹖丕鬲 亘爻蹖丕乇 睾賳蹖 乇賵爻蹖賴 賵 丌孬丕乇 丿丕爻鬲丕蹖賵賮爻讴蹖 鬲噩乇亘賴 丕蹖 亘蹖 賲丕賳賳丿蹖 禺賵丕賴丿 亘賵丿 貙 賳亘賵睾 賮乇丕賵丕賳 噩丕賳 讴賵鬲爻蹖 亘賴 賴賲乇丕賴 賳诏丕乇卮蹖 卮亘蹖賴 亘賴 丌孬丕乇 丕爻鬲丕丿 丿丕爻鬲丕蹖賵賮爻讴蹖 丕蹖賳 讴鬲丕亘 乇丕 亘賴 丕孬乇蹖 賲鬲賮丕賵鬲 賵 禺賵丕賳丿賳蹖 鬲亘丿蹖賱 讴乇丿賴 丕爻鬲 .
May 13, 2023
I was a reader adrift in a sea of books, having abandoned three other books halfway through before picking up this one, but JM Coetzee (as always) brought me safely to shore. Even then, however, it was touch and go until about the midway point, where Dostoevsky's grief over the death of his son reaches a dizzying peak, after which the book transforms into something else entirely, with all the threads drawing together, being woven together, until the breathtaking final chapter is reached.
The question, as always with some of Coetzee's later works, is how much of his own experiences has he woven into the story, his own son having fallen from an 11th floor balcony of a Johannesburg flat in 1989? How much of fiction is truly fiction? And conversely (viewing Coetzee as a reader) how much do readers read an author's life into their books? It is an idea Coetzee explores through Dostoevsky in this book, both as a reader of Dostoevsky (or so I would assume) and as a writer of fiction. Without discounting the exploration of grief, I could also see the argument for The Master of Petersburg being a 200-page exploration of writer's block. Did Coetzee chronicle his own life in works like to deter anyone from someday writing works of biographical fiction about him? Way to beat them to the punch.
The question, as always with some of Coetzee's later works, is how much of his own experiences has he woven into the story, his own son having fallen from an 11th floor balcony of a Johannesburg flat in 1989? How much of fiction is truly fiction? And conversely (viewing Coetzee as a reader) how much do readers read an author's life into their books? It is an idea Coetzee explores through Dostoevsky in this book, both as a reader of Dostoevsky (or so I would assume) and as a writer of fiction. Without discounting the exploration of grief, I could also see the argument for The Master of Petersburg being a 200-page exploration of writer's block. Did Coetzee chronicle his own life in works like to deter anyone from someday writing works of biographical fiction about him? Way to beat them to the punch.
March 3, 2025
賴賲蹖賳鈥屫� 丕毓賱丕賲 賲蹖鈥屭┵嗁� 讴賴 亘丕蹖丿 賳賵蹖爻賳丿賴鈥屰� 亘夭乇诏蹖 亘丕卮蹖 鬲丕 亘鬲賵賳蹖 趩賳蹖賳 卮丕賴讴丕乇蹖 乇賵 禺賱賯 讴賳蹖 賵 丕蹖賳 丌賯丕蹖 讴賵鬲爻蹖 丨賯丕 讴賴 趩賴 賳賵蹖爻賳丿賴鈥屰� 禺賵亘蹖賴. 丕夭 賴乇 胤乇賮 讴賴 亘賴 丕蹖賳 讴鬲丕亘 賳诏丕賴 賲蹖鈥屭┵嗁� 亘丕 丕孬乇 賲丨卮乇 賵 賲毓乇讴賴鈥屫й� 胤乇賮賲 讴賴 賮賵賯鈥屫з勜关ж� 亘蹖鈥屬嗁傌� 賴賲 赖爻鬲. 丕氐賱丕 賳賲蹖卮賴 亘賴 丕蹖賳 讴鬲丕亘 鄣 賳丿丕丿! 丕賳賯丿乇 讴賴 禺賵亘賴. 丕蹖賳 讴鬲丕亘 丕夭 丕賵賳 讴鬲丕亘鈥屬囏ж池� 讴賴 亘賴 毓賲賯 噩丕賳 賵 乇賵丕賳 賵 鬲賳鬲賵賳 賳賮賵匕 賲蹖鈥屭┵嗁� 賵 丿乇賵賳鬲賵賳 讴賲鈥屭┵� 鬲賴鈥屬嗀篡屬� 賲蹖鈥屫促囏� 亘賴 賴蹖噩丕賳 丿乇賲蹖丕乇鬲鬲賵賳貙 丕亘乇賵賴丕鬲賵賳 乇賵 亘丕賱丕 賲蹖鈥屫ㄘ辟囏� 賲蹖鈥屫必迟堎嗀堎嗀� 丕卮讴鈥屬囏ж堎� 乇賵 噩丕乇蹖 賲蹖鈥屭┵嗁囏� 賱亘禺賳丿 亘賴 賱亘丕鬲賵賳 賲蹖丕乇賴 賵 賴乇 丕丨爻丕爻蹖 讴賴 丿賵爻鬲 丿丕卮鬲賴 亘丕卮蹖丿 乇賵 亘賴鬲賵賳 賴丿蹖賴 賲蹖鈥屭┵嗁�. 鬲賵蹖 禺賵賳丿賳卮 丿乇蹖睾 賳讴賳蹖丿 讴賴 丿乇 睾蹖乇丕蹖賳鈥屫蒂堌必� 囟乇乇 賲蹖鈥屭┵嗃屫�! 丕夭 賲丕 诏賮鬲賳!
爻賵诏 讴賵鬲爻蹖 賵 賲乇賴賲蹖 亘賴鈥屬嗀з� 丕丿亘蹖丕鬲
讴賵鬲爻蹖 賳賵蹖爻賳丿賴鈥屰� 賴賱賳丿蹖鈥屫ㄘж� 賵 夭丕丿賴鈥屰� 丌賮乇蹖賯丕蹖鈥屫嗁堌ㄛ� 亘乇賳丿賴鈥屰� 噩丕蹖夭賴鈥屰� 賳賵亘賱 賵 賲賳 亘賵讴乇貙 丿乇 倬蹖 丨丕丿孬賴鈥屰� 賳丕诏賵丕乇蹖 讴賴 亘乇丕蹖 倬爻乇卮 丕鬲賮丕賯 丕賮鬲丕丿 賵 噩賵丕賳鈥屬呚壁� 卮丿貙 鬲噩乇亘賴鈥屰� 亘賴鈥屫簇� 爻禺鬲蹖 乇賵 倬卮鬲 爻乇 诏匕丕卮鬲 讴賴 睾賲 噩丕賳鈥屭┴з囏� 鬲丨賲賱鈥屬嗀з矩佰屫� 亘賵丿. 讴賵鬲爻蹖 讴賴 夭禺賲卮 乇賵 毓賱丕噩鈥屬嗀з矩佰屫� 賲蹖鈥屫屫� 亘乇丕蹖 賲乇賴賲 丕蹖賳 噩乇蹖丨賴 亘賴 丕丿亘蹖丕鬲 乇賵蹖 丌賵乇丿貨 丕乇賵丕丨 鬲丕乇蹖禺 賵 丕丿亘蹖丕鬲 乇賵 丕夭 丿賱 诏匕卮鬲賴 亘蹖乇賵賳 讴卮蹖丿 鬲丕 鬲乇蹖丕賯蹖 鈥屫ㄘж促� 亘乇 丕蹖賳 夭禺賲 賳丕爻賵乇. 讴賱賲丕鬲 賲爻讴賳 讴賵鬲爻蹖 亘賵丿. 讴賵鬲爻蹖 讴賴 丿賳亘丕賱 鬲噩乇亘賴鈥屰� 賲卮丕亘賴蹖 丿乇 丕丿亘蹖丕鬲 賲蹖鈥屭簇� 丿爻鬲 蹖丕乇蹖 亘賴 爻賲鬲 丕爻鬲丕丿 亘夭乇诏 倬鬲乇夭亘賵乇诏 丿乇丕夭 讴乇丿: 蹖毓賳蹖 賮蹖賵丿賵乇 賲蹖禺丕蹖賱賵賵蹖趩 丿丕爻鬲丕蹖賮爻讴蹖. 乇賵丨卮 乇賵 丕夭 丿賱 诏匕卮鬲賴 丕丨囟丕乇 讴乇丿 賵 丿乇 丕賵賳 丿賲蹖丿. 夭賳丿賴鈥屫ж� 讴乇丿 鬲丕 賴賲 丕夭 夭賳丿诏蹖 卮禺氐蹖 丕爻鬲丕丿亘夭乇诏 亘乇丕鬲賵賳 鬲毓乇蹖賮 讴賳賴 賵 賴賲 丕蹖賳讴賴 讴鬲丕亘 蹖丕丿賵丕乇賴鈥屫й� 亘丕卮賴 亘乇丕蹖 爻賵诏 倬爻乇卮. 讴鬲丕亘蹖 讴賴 賵丕賯毓蹖鬲 乇賵 亘丕 鬲禺蹖賱 賵 賯氐賴鈥� 倬蹖賵賳丿 夭丿賴 賵 賲毓噩賵賳 鬲賱禺 賵 丿乇毓蹖賳鈥屫з� 禺賵卮鈥屭堌ж臂� 乇賵 爻丕禺鬲賴 讴賴 夭賴乇卮 亘賴 賯賱亘 賲蹖鈥屫篡屬嗁�.
丿丕爻鬲丕賳
丿丕爻鬲丕賳 丕夭 丕蹖賳 賯乇丕乇賴 讴賴 丿丕爻鬲丕蹖賮爻讴蹖 讴賴 丿乇 倬蹖 賲鬲賵丕乇蹖鈥屫簇� 丕夭 乇賵爻蹖賴 亘賴 毓賱鬲 亘丿賴蹖鈥屬囏й� 爻賳诏蹖賳 賵 胤賱亘讴丕乇鈥屬囏ж� 亘賴 丌賱賲丕賳 毓夭蹖賲鬲 讴乇丿賴 亘賵丿 賲噩亘賵乇 賲蹖卮賴 亘禺丕胤乇 賲乇诏 賳丕诏賴丕賳蹖 賵 賲卮讴賵讴 倬爻乇禺賵丕賳丿賴鈥屫ж簇� 倬丕賵賱貙 乇丕賴蹖 倬鬲乇夭亘賵乇诏 亘卮賴. 丿丕爻鬲丕蹖賮爻讴蹖 丿乇 丕丿丕賲賴 賲鬲賵噩賴 賲蹖鈥屫促� 讴賴 賲乇诏 倬爻乇卮 亘賴 賴賲蹖賳 爻丕丿诏蹖鈥屬囏� 賳亘賵丿賴 賵 毓賱鬲 丕賵賳 讴丕賲賱丕 賲卮禺氐 賳蹖爻鬲貙 丿乇 倬蹖 丕鬲賮丕賯丕鬲蹖貙 賲乇诏 倬爻乇卮 亘賴 亘丕賳丿 禺乇丕亘讴丕乇賽 爻乇诏蹖 賳趩丕蹖賮貙 卮禺氐蹖鬲 鬲亘賴讴丕乇 丿丕爻鬲丕賳 賲乇亘賵胤 賴賲 賲蹖卮賴 賵...
蹖讴蹖 丕夭 賳讴丕鬲蹖 讴賴 鬲賯乇蹖亘丕 丕夭 賴賲賵賳 丕亘鬲丿丕蹖 讴丕乇 鬲賵噩賴 禺賵丕賳賳丿賴 乇賵 亘賴 禺賵丿卮 噩賱亘 賲蹖鈥屭┵嗁� 賵爻毓鬲 讴丕乇 讴賵鬲爻蹖 賵 倬乇丿丕禺鬲賳 賴賲賴鈥屫з嗀ㄙ� 亘賴 賲爻丕卅賱 賲胤乇丨 卮丿賴鈥屰� 丿乇賵賳 讴鬲丕亘賴. 丕賮夭賵賳 亘乇 賲胤乇丨鈥屭┴必� 爻賵丕賱丕鬲蹖 讴賴 丿乇 讴丕乇賴丕蹖 丿丕爻鬲丕蹖賮爻讴蹖 賴賲 倬蹖丿丕 賲蹖卮賳貙 倬乇丿丕禺鬲賳 亘賴 夭賳丿诏蹖 卮禺氐蹖 丕爻鬲丕丿 丕夭 賳賯丕胤 賯賵鬲 讴鬲丕亘賴 讴賴 禺蹖賱蹖 噩丕賲毓 丿乇賳馗乇 诏乇賮鬲賴 卮丿賴 賵 丿乇 丿丕爻鬲丕賳 亘爻蹖丕乇 倬乇乇賳诏 賳賲賵丿 倬蹖锟斤拷丕 讴乇丿賴 賵 亘丕 趩丕卮賳蹖 讴賲蹖 鬲禺蹖賱 賵 賯氐賴鈥屭堐屰� 丿乇 賯丕賱亘 丿丕爻鬲丕賳 丿乇丕賵賲丿賴.
毓賱丕賵賴 亘乇 賳賲賵丿 丕蹖賳 鬲噩乇亘賴鈥屬囏й� 卮禺氐蹖貙 賳賵蹖爻賳丿賴 亘賴 鬲丕孬蹖乇 賲鬲賯丕亘賱 丕蹖賳 鬲噩乇亘賴鈥屬囏� 賵 丿丕爻鬲丕賳鈥屬囏й� 丿丕爻鬲丕蹖賮爻讴蹖 賴賲 賲蹖鈥屬矩必ж操囏� 丕賱亘鬲賴 亘丕 賴賲丕賳 趩丕卮賳蹖 賯氐賴鈥屭堐屰�. 亘乇丕蹖 賲孬丕賱 乇丕爻讴賵賱賳蹖讴賮賽 噩賳丕蹖鬲 賵 賲讴丕賮丕鬲 丌賱鬲 丿爻鬲 丨賲賱丕鬲 讴賱丕賲蹖 賵 毓賯蹖丿鬲蹖 賳趩丕蹖賮 亘賴 丿丕爻鬲丕蹖賮爻讴蹖 丿乇 丿丕爻鬲丕賳 賲蹖卮賴. 丕賲丕 卮丕蹖丿 賲賴賲鈥屫臂屬� 賳賲賵丿 賵 鬲丕孬蹖乇 丕蹖賳 亘丕卮賴 讴賴 丕鬲賮丕賯丕鬲蹖 讴賴 丿乇 丕蹖賳 讴鬲丕亘 鬲毓乇蹖賮 賲蹖卮賴貙 亘毓丿賴丕 丿爻鬲賲丕蹖賴鈥屰� 丿丕爻鬲丕賳蹖 丿丕爻鬲丕蹖賮爻讴蹖 亘乇丕蹖 賳賵卮鬲賳 讴鬲丕亘 卮蹖丕胤蹖賳 蹖丕 噩賳鈥屫藏з� 賯乇丕乇 賲蹖鈥屭屫辟� (讴賴 亘丕夭賴賲 乇蹖卮賴 丿乇 鬲禺蹖賱 賳賵蹖爻賳丿賴 丿丕乇賴). 丿賵 卮禺氐蹖鬲 丕爻鬲丕賵乇賵诏蹖賳 賵 賵乇禺賵賳爻讴蹖賽 讴鬲丕亘 卮蹖丕胤蹖賳 賲爻鬲賯蹖賲丕 丕夭 诏乇賵賴鈥屬囏й� 禺乇丕亘讴丕乇 賵 亘夭賴讴丕乇蹖 爻丕禺鬲 賵 倬乇丿丕禺鬲 卮丿賴鈥屫з嗀� 讴賴 丿乇 爻丕賱鈥屬囏й� 丿賴賴鈥屰� 鄯郯 賯乇賳 賳賵夭丿賴賲 丿乇 乇賵爻蹖賴 賮毓丕賱蹖鬲鈥屬囏й� 夭蹖乇夭賲蹖賳蹖 爻蹖丕爻蹖 賵 丕賳賯賱丕亘蹖 毓賱蹖賴 丨讴賵賲鬲 鬲夭丕乇蹖 賲蹖鈥屭┴必嗀� 賵 亘賴鈥屬嗁堌观� 丿乇 丕蹖賳 讴鬲丕亘 賴賲 亘賴卮賵賳 倬乇丿丕禺鬲賴 卮丿賴. 鬲賵氐蹖賴鈥屫з� 丕蹖賳賴 讴賴 亘賴鬲乇賴 賯亘賱 丕夭 禺賵丕賳丿賳 丕蹖賳 讴鬲丕亘貙 卮蹖丕胤蹖賳 丿丕爻鬲丕蹖賮爻讴蹖 乇賵 賲胤丕賱毓賴 讴乇丿賴 亘丕卮蹖丿 趩乇丕讴賴 丕賵賱丕 賱匕鬲 禺賵丕賳卮 丕蹖賳 讴鬲丕亘 乇賵 亘丕賱丕 賲蹖鈥屫ㄘ辟� 賵 孬丕賳蹖丕 亘乇丕蹖 倬蹖丿丕鈥屭┴必� 倬丕爻禺 爻賵丕賱丕鬲蹖 讴賴 丿乇 卮蹖丕胤蹖賳 賲胤乇丨 賲蹖卮賴 丌賯丕蹖 讴賵鬲爻蹖 丿乇 丕蹖賳噩丕 倬丕爻禺鈥屬囏й� 鬲禺蹖賱蹖 賵 夭蹖亘丕蹖蹖 丿丕丿賴 賵 毓賱鬲鈥屬囏� 亘丕 鬲丨乇蹖賮丕鬲 賯氐賴鈥屭堐屰� 鬲睾蹖蹖乇 倬蹖丿丕 讴乇丿賴.
倬丿乇丕賳 賵 倬爻乇丕賳貙 丕夭 鬲賵乇诏賳蹖賮 賵 丿丕爻鬲丕蹖賮爻讴蹖 鬲丕 讴賵鬲爻蹖
賴賲賵賳胤賵乇 讴賴 诏賮鬲賲 賲賵囟賵毓丕鬲蹖 讴賴 丿乇 丕蹖賳 讴鬲丕亘 賲胤乇丨 賲蹖卮賴 鬲丕 丨丿賵丿 夭蹖丕丿蹖 亘丕 丌孬丕乇 丿丕爻鬲丕蹖賮爻讴蹖 賴賲鈥屫堌з嗃� 丿丕乇賴 賵 賴賲蹖賳 亘賴 噩匕丕亘蹖鬲 讴鬲丕亘 丕賮夭賵丿賴貨 賵賱蹖 丕氐賱蹖 鬲乇蹖賳 賲賵囟賵毓貙 鬲賯丕亘賱貙 丿卮賲賳蹖 賵 鬲賮丕賵鬲 賳爻賱 亘蹖賳 倬丿乇丕賳 賵 倬爻乇丕賳賴. 賴賲賵賳胤賵乇 讴賴 賲蹖鈥屫堎嗃屫� 丕蹖賳 賲賵囟賵毓 丕氐賱丕 鬲丕夭賴 賵 噩丿蹖丿 賳蹖爻鬲 賵 亘賴 賯丿賲鬲 禺賵丿 鬲丕乇蹖禺賴 賵賱蹖 蹖讴蹖 丕夭 賲賵囟賵毓丕鬲蹖 讴賴 賯亘賱丕 丿乇 丕丿亘蹖丕鬲 乇賵爻蹖賴 賲胤乇丨鈥屫簇� 賴賲 賴爻鬲: 倬丿乇丕賳 賵 倬爻乇丕賳 丕孬乇 丕蹖賵丕賳 鬲賵乇诏賳蹖賮 蹖讴蹖 丕夭 丕賵賳 丌孬丕乇蹖鈥� 丕爻鬲 讴賴 讴丕賲賱丕 亘賴 丕蹖賳 賲賵囟賵毓 倬乇丿丕禺鬲賴. 丿乇 丕賵賳 讴鬲丕亘 卮禺氐蹖鬲 倬爻乇 丿丕爻鬲丕賳 (丌乇讴丕丿蹖) 賴賲乇丕賴 賴賲讴賱丕爻蹖 鬲丨氐蹖賱鈥屭┴必団€屰� 丿丕賳卮诏丕賴蹖鈥屫ж� (亘丕夭丕乇賮) 亘賴 蹖蹖賱丕賯 倬丿乇卮 賲蹖乇賴. 亘丕夭丕乇賮 丿乇 丿賵乇丕賳 鬲丨氐蹖賱 鬲丨鬲 鬲丕孬蹖乇 賲讴鬲亘 賳蹖賴蹖賱蹖爻賲 賯乇丕乇 诏乇賮鬲賴 亘賵丿賴 賵 丕夭 賳馗乇蹖丕鬲卮 胤乇賮丿丕乇蹖 賲蹖鈥屭┵嗁�. 倬丿乇 丌乇讴丕丿蹖 丿乇 蹖蹖賱丕賯 亘丕 賳馗乇蹖丕鬲 丕賮乇丕胤蹖 賵 倬賵趩鈥屭必й� 賴賲讴賱丕爻蹖 倬爻乇卮 乇賵鈥屫ㄙ団€屫辟� 賲蹖卮賴 賵 鬲賮丕賵鬲 賳爻賱鈥屬囏� 賵 丿卮賲賳蹖鈥屬囏� 賵 倬乇爻卮鈥屬囏� 丌睾丕夭 賲蹖卮賴. 趩賳蹖賳 丿丕爻鬲丕賳蹖 亘蹖鈥屫簇ㄘз囏� 亘賴 亘丨孬 賵 鬲亘丕丿賱鈥屬嗀肛� 丿丕爻鬲丕蹖賮爻讴蹖 亘丕 賳趩丕蹖賮貙 卮禺氐蹖鬲 乇丕丿蹖讴丕賱貙 賳蹖賴蹖賱蹖爻鬲貙 卮賵乇卮蹖 賵 毓噩蹖亘鈥屫贺臂屫� 丕蹖賳 讴鬲丕亘 賳蹖爻鬲. 丕鬲賮丕賯蹖 讴賴 丿乇 卮蹖丕胤蹖賳 賴賲 乇禺 賲蹖丿賴 賵 賵乇禺賵賳爻讴蹖貙 噩賵丕賳 賳蹖賴蹖賱蹖爻鬲 賵 卮賵乇卮蹖 讴鬲丕亘貙 亘丕 毓賯丕蹖丿 賵 胤乇夭 鬲賮讴乇 倬丿乇卮 丕禺鬲賱丕賮丕鬲 丕爻丕爻蹖鈥屫й� 丿丕乇賴.
讴賵鬲爻蹖 丕賲丕 鬲賲丕賲蹖 倬乇爻卮鈥屬囏й� 賲賳胤賯蹖 賵 睾蹖乇賲賳胤賯蹖貙 亘丕 倬丕爻禺 賵 亘蹖 倬丕爻禺貙 賯胤毓蹖 賵 丕丨鬲賲丕賱蹖 賵 賵丕賯毓蹖 蹖丕 鬲禺蹖賱蹖 丿乇 丕蹖賳 亘丕亘 乇賵 噩賱賵蹖 趩卮賲 禺賵丕賳賳丿賴 乇丿蹖賮 賲蹖鈥屭┵嗁� 賵 賲禺丕胤亘 賴丕乇賵 丿乇 禺賱丕賱 丿丕爻鬲丕賳 亘賴 賮讴乇 賮乇賵 賲蹖鈥屫ㄘ辟�. 趩賳蹖賳 丕鬲賮丕賯蹖 丿乇 乇丕爻鬲丕蹖 乇丕亘胤賴鈥屰� 丿丕爻鬲丕蹖賮爻讴蹖 賵 倬丕賵賱 丿乇 诏匕卮鬲賴貙 禺丕胤乇丕鬲 亘賴鈥屫� 賲賵賳丿賴 丕夭 丕賵 賵 賴賲蹖賳胤賵乇 丿乇 丕乇鬲亘丕胤 亘丕 爻丕讴賳蹖賳 丌倬丕乇鬲賲丕賳 丕噩丕乇賴鈥屫й屸€屫� 賲胤乇丨 賲蹖鈥屫促�. 丕賮讴丕乇 賲睾卮賵卮 賵 丿乇賴賲 賵 倬乇蹖卮丕賳 丿丕爻鬲丕蹖賮爻讴蹖 丿乇 讴鬲丕亘 賵 馗賴賵乇 倬乇爻卮鈥屬囏й� 诏丕賴鈥屸€屬堌ㄛ屭з� 鬲讴賵賳鈥屫囐嗀団€屫ж� 亘蹖賳 爻胤賵乇 賳賯卮 丕氐賱蹖 賵 倬乇乇賳诏蹖 乇賵 丿乇 倬蹖卮鈥屫ㄘ必嗏€� 丿丕爻鬲丕賳貙 噩匕丕亘蹖鬲 賵 讴卮卮 賵 夭蹖亘丕蹖蹖 丕蹖賳 讴鬲丕亘 丕蹖賮丕 賲蹖鈥屭┵嗁�.
丕賵賱蹖賳 讴丕乇蹖 亘賵丿 讴賴 丕夭 丕蹖賳 賳賵蹖爻賳丿賴 賲蹖鈥屫堎嗀� 賵 亘爻蹖丕乇 倬爻賳丿蹖丿賲. 亘賯蹖賴鈥屰� 丌孬丕乇卮 丿乇 乇丕爻 丕賲賵乇 賯乇丕乇 禺賵丕賴賳丿 诏乇賮鬲. 鬲乇噩賲賴鈥屰� 讴鬲丕亘 丕夭 丿蹖诏乇 賳賯丕胤 賯賵鬲 讴鬲丕亘 亘賵丿 賵 賮賵賯鈥屫з勜关ж� 鬲丨爻蹖賳鈥屫ㄘ必з嗂屫� 賵 丿乇禺卮丕賳. 馗丕賴乇丕 賲鬲乇噩賲 賲丨鬲乇賲 亘丕亘鬲 丕蹖賳 鬲乇噩賲賴 噩丕蹖夭賴鈥屰� 丕亘賵丕賱丨爻賳 賳噩賮蹖 丿乇 爻丕賱 酃酃 乇賵 賴賲 亘乇丿賴.
爻賵诏 讴賵鬲爻蹖 賵 賲乇賴賲蹖 亘賴鈥屬嗀з� 丕丿亘蹖丕鬲
讴賵鬲爻蹖 賳賵蹖爻賳丿賴鈥屰� 賴賱賳丿蹖鈥屫ㄘж� 賵 夭丕丿賴鈥屰� 丌賮乇蹖賯丕蹖鈥屫嗁堌ㄛ� 亘乇賳丿賴鈥屰� 噩丕蹖夭賴鈥屰� 賳賵亘賱 賵 賲賳 亘賵讴乇貙 丿乇 倬蹖 丨丕丿孬賴鈥屰� 賳丕诏賵丕乇蹖 讴賴 亘乇丕蹖 倬爻乇卮 丕鬲賮丕賯 丕賮鬲丕丿 賵 噩賵丕賳鈥屬呚壁� 卮丿貙 鬲噩乇亘賴鈥屰� 亘賴鈥屫簇� 爻禺鬲蹖 乇賵 倬卮鬲 爻乇 诏匕丕卮鬲 讴賴 睾賲 噩丕賳鈥屭┴з囏� 鬲丨賲賱鈥屬嗀з矩佰屫� 亘賵丿. 讴賵鬲爻蹖 讴賴 夭禺賲卮 乇賵 毓賱丕噩鈥屬嗀з矩佰屫� 賲蹖鈥屫屫� 亘乇丕蹖 賲乇賴賲 丕蹖賳 噩乇蹖丨賴 亘賴 丕丿亘蹖丕鬲 乇賵蹖 丌賵乇丿貨 丕乇賵丕丨 鬲丕乇蹖禺 賵 丕丿亘蹖丕鬲 乇賵 丕夭 丿賱 诏匕卮鬲賴 亘蹖乇賵賳 讴卮蹖丿 鬲丕 鬲乇蹖丕賯蹖 鈥屫ㄘж促� 亘乇 丕蹖賳 夭禺賲 賳丕爻賵乇. 讴賱賲丕鬲 賲爻讴賳 讴賵鬲爻蹖 亘賵丿. 讴賵鬲爻蹖 讴賴 丿賳亘丕賱 鬲噩乇亘賴鈥屰� 賲卮丕亘賴蹖 丿乇 丕丿亘蹖丕鬲 賲蹖鈥屭簇� 丿爻鬲 蹖丕乇蹖 亘賴 爻賲鬲 丕爻鬲丕丿 亘夭乇诏 倬鬲乇夭亘賵乇诏 丿乇丕夭 讴乇丿: 蹖毓賳蹖 賮蹖賵丿賵乇 賲蹖禺丕蹖賱賵賵蹖趩 丿丕爻鬲丕蹖賮爻讴蹖. 乇賵丨卮 乇賵 丕夭 丿賱 诏匕卮鬲賴 丕丨囟丕乇 讴乇丿 賵 丿乇 丕賵賳 丿賲蹖丿. 夭賳丿賴鈥屫ж� 讴乇丿 鬲丕 賴賲 丕夭 夭賳丿诏蹖 卮禺氐蹖 丕爻鬲丕丿亘夭乇诏 亘乇丕鬲賵賳 鬲毓乇蹖賮 讴賳賴 賵 賴賲 丕蹖賳讴賴 讴鬲丕亘 蹖丕丿賵丕乇賴鈥屫й� 亘丕卮賴 亘乇丕蹖 爻賵诏 倬爻乇卮. 讴鬲丕亘蹖 讴賴 賵丕賯毓蹖鬲 乇賵 亘丕 鬲禺蹖賱 賵 賯氐賴鈥� 倬蹖賵賳丿 夭丿賴 賵 賲毓噩賵賳 鬲賱禺 賵 丿乇毓蹖賳鈥屫з� 禺賵卮鈥屭堌ж臂� 乇賵 爻丕禺鬲賴 讴賴 夭賴乇卮 亘賴 賯賱亘 賲蹖鈥屫篡屬嗁�.
丿丕爻鬲丕賳
丿丕爻鬲丕賳 丕夭 丕蹖賳 賯乇丕乇賴 讴賴 丿丕爻鬲丕蹖賮爻讴蹖 讴賴 丿乇 倬蹖 賲鬲賵丕乇蹖鈥屫簇� 丕夭 乇賵爻蹖賴 亘賴 毓賱鬲 亘丿賴蹖鈥屬囏й� 爻賳诏蹖賳 賵 胤賱亘讴丕乇鈥屬囏ж� 亘賴 丌賱賲丕賳 毓夭蹖賲鬲 讴乇丿賴 亘賵丿 賲噩亘賵乇 賲蹖卮賴 亘禺丕胤乇 賲乇诏 賳丕诏賴丕賳蹖 賵 賲卮讴賵讴 倬爻乇禺賵丕賳丿賴鈥屫ж簇� 倬丕賵賱貙 乇丕賴蹖 倬鬲乇夭亘賵乇诏 亘卮賴. 丿丕爻鬲丕蹖賮爻讴蹖 丿乇 丕丿丕賲賴 賲鬲賵噩賴 賲蹖鈥屫促� 讴賴 賲乇诏 倬爻乇卮 亘賴 賴賲蹖賳 爻丕丿诏蹖鈥屬囏� 賳亘賵丿賴 賵 毓賱鬲 丕賵賳 讴丕賲賱丕 賲卮禺氐 賳蹖爻鬲貙 丿乇 倬蹖 丕鬲賮丕賯丕鬲蹖貙 賲乇诏 倬爻乇卮 亘賴 亘丕賳丿 禺乇丕亘讴丕乇賽 爻乇诏蹖 賳趩丕蹖賮貙 卮禺氐蹖鬲 鬲亘賴讴丕乇 丿丕爻鬲丕賳 賲乇亘賵胤 賴賲 賲蹖卮賴 賵...
蹖讴蹖 丕夭 賳讴丕鬲蹖 讴賴 鬲賯乇蹖亘丕 丕夭 賴賲賵賳 丕亘鬲丿丕蹖 讴丕乇 鬲賵噩賴 禺賵丕賳賳丿賴 乇賵 亘賴 禺賵丿卮 噩賱亘 賲蹖鈥屭┵嗁� 賵爻毓鬲 讴丕乇 讴賵鬲爻蹖 賵 倬乇丿丕禺鬲賳 賴賲賴鈥屫з嗀ㄙ� 亘賴 賲爻丕卅賱 賲胤乇丨 卮丿賴鈥屰� 丿乇賵賳 讴鬲丕亘賴. 丕賮夭賵賳 亘乇 賲胤乇丨鈥屭┴必� 爻賵丕賱丕鬲蹖 讴賴 丿乇 讴丕乇賴丕蹖 丿丕爻鬲丕蹖賮爻讴蹖 賴賲 倬蹖丿丕 賲蹖卮賳貙 倬乇丿丕禺鬲賳 亘賴 夭賳丿诏蹖 卮禺氐蹖 丕爻鬲丕丿 丕夭 賳賯丕胤 賯賵鬲 讴鬲丕亘賴 讴賴 禺蹖賱蹖 噩丕賲毓 丿乇賳馗乇 诏乇賮鬲賴 卮丿賴 賵 丿乇 丿丕爻鬲丕賳 亘爻蹖丕乇 倬乇乇賳诏 賳賲賵丿 倬蹖锟斤拷丕 讴乇丿賴 賵 亘丕 趩丕卮賳蹖 讴賲蹖 鬲禺蹖賱 賵 賯氐賴鈥屭堐屰� 丿乇 賯丕賱亘 丿丕爻鬲丕賳 丿乇丕賵賲丿賴.
毓賱丕賵賴 亘乇 賳賲賵丿 丕蹖賳 鬲噩乇亘賴鈥屬囏й� 卮禺氐蹖貙 賳賵蹖爻賳丿賴 亘賴 鬲丕孬蹖乇 賲鬲賯丕亘賱 丕蹖賳 鬲噩乇亘賴鈥屬囏� 賵 丿丕爻鬲丕賳鈥屬囏й� 丿丕爻鬲丕蹖賮爻讴蹖 賴賲 賲蹖鈥屬矩必ж操囏� 丕賱亘鬲賴 亘丕 賴賲丕賳 趩丕卮賳蹖 賯氐賴鈥屭堐屰�. 亘乇丕蹖 賲孬丕賱 乇丕爻讴賵賱賳蹖讴賮賽 噩賳丕蹖鬲 賵 賲讴丕賮丕鬲 丌賱鬲 丿爻鬲 丨賲賱丕鬲 讴賱丕賲蹖 賵 毓賯蹖丿鬲蹖 賳趩丕蹖賮 亘賴 丿丕爻鬲丕蹖賮爻讴蹖 丿乇 丿丕爻鬲丕賳 賲蹖卮賴. 丕賲丕 卮丕蹖丿 賲賴賲鈥屫臂屬� 賳賲賵丿 賵 鬲丕孬蹖乇 丕蹖賳 亘丕卮賴 讴賴 丕鬲賮丕賯丕鬲蹖 讴賴 丿乇 丕蹖賳 讴鬲丕亘 鬲毓乇蹖賮 賲蹖卮賴貙 亘毓丿賴丕 丿爻鬲賲丕蹖賴鈥屰� 丿丕爻鬲丕賳蹖 丿丕爻鬲丕蹖賮爻讴蹖 亘乇丕蹖 賳賵卮鬲賳 讴鬲丕亘 卮蹖丕胤蹖賳 蹖丕 噩賳鈥屫藏з� 賯乇丕乇 賲蹖鈥屭屫辟� (讴賴 亘丕夭賴賲 乇蹖卮賴 丿乇 鬲禺蹖賱 賳賵蹖爻賳丿賴 丿丕乇賴). 丿賵 卮禺氐蹖鬲 丕爻鬲丕賵乇賵诏蹖賳 賵 賵乇禺賵賳爻讴蹖賽 讴鬲丕亘 卮蹖丕胤蹖賳 賲爻鬲賯蹖賲丕 丕夭 诏乇賵賴鈥屬囏й� 禺乇丕亘讴丕乇 賵 亘夭賴讴丕乇蹖 爻丕禺鬲 賵 倬乇丿丕禺鬲 卮丿賴鈥屫з嗀� 讴賴 丿乇 爻丕賱鈥屬囏й� 丿賴賴鈥屰� 鄯郯 賯乇賳 賳賵夭丿賴賲 丿乇 乇賵爻蹖賴 賮毓丕賱蹖鬲鈥屬囏й� 夭蹖乇夭賲蹖賳蹖 爻蹖丕爻蹖 賵 丕賳賯賱丕亘蹖 毓賱蹖賴 丨讴賵賲鬲 鬲夭丕乇蹖 賲蹖鈥屭┴必嗀� 賵 亘賴鈥屬嗁堌观� 丿乇 丕蹖賳 讴鬲丕亘 賴賲 亘賴卮賵賳 倬乇丿丕禺鬲賴 卮丿賴. 鬲賵氐蹖賴鈥屫з� 丕蹖賳賴 讴賴 亘賴鬲乇賴 賯亘賱 丕夭 禺賵丕賳丿賳 丕蹖賳 讴鬲丕亘貙 卮蹖丕胤蹖賳 丿丕爻鬲丕蹖賮爻讴蹖 乇賵 賲胤丕賱毓賴 讴乇丿賴 亘丕卮蹖丿 趩乇丕讴賴 丕賵賱丕 賱匕鬲 禺賵丕賳卮 丕蹖賳 讴鬲丕亘 乇賵 亘丕賱丕 賲蹖鈥屫ㄘ辟� 賵 孬丕賳蹖丕 亘乇丕蹖 倬蹖丿丕鈥屭┴必� 倬丕爻禺 爻賵丕賱丕鬲蹖 讴賴 丿乇 卮蹖丕胤蹖賳 賲胤乇丨 賲蹖卮賴 丌賯丕蹖 讴賵鬲爻蹖 丿乇 丕蹖賳噩丕 倬丕爻禺鈥屬囏й� 鬲禺蹖賱蹖 賵 夭蹖亘丕蹖蹖 丿丕丿賴 賵 毓賱鬲鈥屬囏� 亘丕 鬲丨乇蹖賮丕鬲 賯氐賴鈥屭堐屰� 鬲睾蹖蹖乇 倬蹖丿丕 讴乇丿賴.
倬丿乇丕賳 賵 倬爻乇丕賳貙 丕夭 鬲賵乇诏賳蹖賮 賵 丿丕爻鬲丕蹖賮爻讴蹖 鬲丕 讴賵鬲爻蹖
賴賲賵賳胤賵乇 讴賴 诏賮鬲賲 賲賵囟賵毓丕鬲蹖 讴賴 丿乇 丕蹖賳 讴鬲丕亘 賲胤乇丨 賲蹖卮賴 鬲丕 丨丿賵丿 夭蹖丕丿蹖 亘丕 丌孬丕乇 丿丕爻鬲丕蹖賮爻讴蹖 賴賲鈥屫堌з嗃� 丿丕乇賴 賵 賴賲蹖賳 亘賴 噩匕丕亘蹖鬲 讴鬲丕亘 丕賮夭賵丿賴貨 賵賱蹖 丕氐賱蹖 鬲乇蹖賳 賲賵囟賵毓貙 鬲賯丕亘賱貙 丿卮賲賳蹖 賵 鬲賮丕賵鬲 賳爻賱 亘蹖賳 倬丿乇丕賳 賵 倬爻乇丕賳賴. 賴賲賵賳胤賵乇 讴賴 賲蹖鈥屫堎嗃屫� 丕蹖賳 賲賵囟賵毓 丕氐賱丕 鬲丕夭賴 賵 噩丿蹖丿 賳蹖爻鬲 賵 亘賴 賯丿賲鬲 禺賵丿 鬲丕乇蹖禺賴 賵賱蹖 蹖讴蹖 丕夭 賲賵囟賵毓丕鬲蹖 讴賴 賯亘賱丕 丿乇 丕丿亘蹖丕鬲 乇賵爻蹖賴 賲胤乇丨鈥屫簇� 賴賲 賴爻鬲: 倬丿乇丕賳 賵 倬爻乇丕賳 丕孬乇 丕蹖賵丕賳 鬲賵乇诏賳蹖賮 蹖讴蹖 丕夭 丕賵賳 丌孬丕乇蹖鈥� 丕爻鬲 讴賴 讴丕賲賱丕 亘賴 丕蹖賳 賲賵囟賵毓 倬乇丿丕禺鬲賴. 丿乇 丕賵賳 讴鬲丕亘 卮禺氐蹖鬲 倬爻乇 丿丕爻鬲丕賳 (丌乇讴丕丿蹖) 賴賲乇丕賴 賴賲讴賱丕爻蹖 鬲丨氐蹖賱鈥屭┴必団€屰� 丿丕賳卮诏丕賴蹖鈥屫ж� (亘丕夭丕乇賮) 亘賴 蹖蹖賱丕賯 倬丿乇卮 賲蹖乇賴. 亘丕夭丕乇賮 丿乇 丿賵乇丕賳 鬲丨氐蹖賱 鬲丨鬲 鬲丕孬蹖乇 賲讴鬲亘 賳蹖賴蹖賱蹖爻賲 賯乇丕乇 诏乇賮鬲賴 亘賵丿賴 賵 丕夭 賳馗乇蹖丕鬲卮 胤乇賮丿丕乇蹖 賲蹖鈥屭┵嗁�. 倬丿乇 丌乇讴丕丿蹖 丿乇 蹖蹖賱丕賯 亘丕 賳馗乇蹖丕鬲 丕賮乇丕胤蹖 賵 倬賵趩鈥屭必й� 賴賲讴賱丕爻蹖 倬爻乇卮 乇賵鈥屫ㄙ団€屫辟� 賲蹖卮賴 賵 鬲賮丕賵鬲 賳爻賱鈥屬囏� 賵 丿卮賲賳蹖鈥屬囏� 賵 倬乇爻卮鈥屬囏� 丌睾丕夭 賲蹖卮賴. 趩賳蹖賳 丿丕爻鬲丕賳蹖 亘蹖鈥屫簇ㄘз囏� 亘賴 亘丨孬 賵 鬲亘丕丿賱鈥屬嗀肛� 丿丕爻鬲丕蹖賮爻讴蹖 亘丕 賳趩丕蹖賮貙 卮禺氐蹖鬲 乇丕丿蹖讴丕賱貙 賳蹖賴蹖賱蹖爻鬲貙 卮賵乇卮蹖 賵 毓噩蹖亘鈥屫贺臂屫� 丕蹖賳 讴鬲丕亘 賳蹖爻鬲. 丕鬲賮丕賯蹖 讴賴 丿乇 卮蹖丕胤蹖賳 賴賲 乇禺 賲蹖丿賴 賵 賵乇禺賵賳爻讴蹖貙 噩賵丕賳 賳蹖賴蹖賱蹖爻鬲 賵 卮賵乇卮蹖 讴鬲丕亘貙 亘丕 毓賯丕蹖丿 賵 胤乇夭 鬲賮讴乇 倬丿乇卮 丕禺鬲賱丕賮丕鬲 丕爻丕爻蹖鈥屫й� 丿丕乇賴.
讴賵鬲爻蹖 丕賲丕 鬲賲丕賲蹖 倬乇爻卮鈥屬囏й� 賲賳胤賯蹖 賵 睾蹖乇賲賳胤賯蹖貙 亘丕 倬丕爻禺 賵 亘蹖 倬丕爻禺貙 賯胤毓蹖 賵 丕丨鬲賲丕賱蹖 賵 賵丕賯毓蹖 蹖丕 鬲禺蹖賱蹖 丿乇 丕蹖賳 亘丕亘 乇賵 噩賱賵蹖 趩卮賲 禺賵丕賳賳丿賴 乇丿蹖賮 賲蹖鈥屭┵嗁� 賵 賲禺丕胤亘 賴丕乇賵 丿乇 禺賱丕賱 丿丕爻鬲丕賳 亘賴 賮讴乇 賮乇賵 賲蹖鈥屫ㄘ辟�. 趩賳蹖賳 丕鬲賮丕賯蹖 丿乇 乇丕爻鬲丕蹖 乇丕亘胤賴鈥屰� 丿丕爻鬲丕蹖賮爻讴蹖 賵 倬丕賵賱 丿乇 诏匕卮鬲賴貙 禺丕胤乇丕鬲 亘賴鈥屫� 賲賵賳丿賴 丕夭 丕賵 賵 賴賲蹖賳胤賵乇 丿乇 丕乇鬲亘丕胤 亘丕 爻丕讴賳蹖賳 丌倬丕乇鬲賲丕賳 丕噩丕乇賴鈥屫й屸€屫� 賲胤乇丨 賲蹖鈥屫促�. 丕賮讴丕乇 賲睾卮賵卮 賵 丿乇賴賲 賵 倬乇蹖卮丕賳 丿丕爻鬲丕蹖賮爻讴蹖 丿乇 讴鬲丕亘 賵 馗賴賵乇 倬乇爻卮鈥屬囏й� 诏丕賴鈥屸€屬堌ㄛ屭з� 鬲讴賵賳鈥屫囐嗀団€屫ж� 亘蹖賳 爻胤賵乇 賳賯卮 丕氐賱蹖 賵 倬乇乇賳诏蹖 乇賵 丿乇 倬蹖卮鈥屫ㄘ必嗏€� 丿丕爻鬲丕賳貙 噩匕丕亘蹖鬲 賵 讴卮卮 賵 夭蹖亘丕蹖蹖 丕蹖賳 讴鬲丕亘 丕蹖賮丕 賲蹖鈥屭┵嗁�.
丕賵賱蹖賳 讴丕乇蹖 亘賵丿 讴賴 丕夭 丕蹖賳 賳賵蹖爻賳丿賴 賲蹖鈥屫堎嗀� 賵 亘爻蹖丕乇 倬爻賳丿蹖丿賲. 亘賯蹖賴鈥屰� 丌孬丕乇卮 丿乇 乇丕爻 丕賲賵乇 賯乇丕乇 禺賵丕賴賳丿 诏乇賮鬲. 鬲乇噩賲賴鈥屰� 讴鬲丕亘 丕夭 丿蹖诏乇 賳賯丕胤 賯賵鬲 讴鬲丕亘 亘賵丿 賵 賮賵賯鈥屫з勜关ж� 鬲丨爻蹖賳鈥屫ㄘ必з嗂屫� 賵 丿乇禺卮丕賳. 馗丕賴乇丕 賲鬲乇噩賲 賲丨鬲乇賲 亘丕亘鬲 丕蹖賳 鬲乇噩賲賴 噩丕蹖夭賴鈥屰� 丕亘賵丕賱丨爻賳 賳噩賮蹖 丿乇 爻丕賱 酃酃 乇賵 賴賲 亘乇丿賴.
April 8, 2020
"Desde que tuvo noticias de muerte de su hijo, en 茅l ha ido menguando algo que considera firmeza. Soy yo el que est谩 muerto, piensa; mejor dicho, yo he muerto, pero mi muerte no termin贸 de llegar."
He le铆do este libro por segunda vez confirmando una serie de realidades acerca de J. M. Coetzee. En primer lugar recordando que fue galardonado con el Premio Nobel de Literatura en 2003. En segundo t茅rmino que se nota por qu茅 se lo dieron.
Por 煤ltimo, que su narrativa es din谩mica y convincente, ya que por momentos Coetzee nos sumerge, ya a partir de la primeras p谩ginas en la vida desesperada de un Dostoievski autoexiliado en Petersburgo que busca obsesionadamente las razones de la muerte de su hijastro Pavel.
Si bien el hijastro de Dostoievski muri贸 de causas naturales (Pabel era el hijo de su hermano), Coetzee reelabora el tema para adecuarlo a su novela, un libro que disfrut茅 mucho y en donde Coetzee nos muestra c贸mo pudo influir la psiquis de Dostoievski para la creaci贸n de sus personajes.
Adem谩s de estos temas, Coetzee mezcla lo ficcional con lo biogr谩fico o emp铆rico de Dostoievski y la resultante es una novela atrayente, especialmente para aquellos que hemos le铆do a Dostoievski asiduamente.
Algo parecido pone en pr谩ctica el autor Peter Ackroyd en su novela "El diario de V铆ctor Frankenstein" utilizando los mismo elementos para desarrollar esa otra interesante novela.
En cuando a Dostoievski, en este caso Coetzee, como indico, utiliza parte de su vida y obra como los son el momento coyuntural de exilio en Europa que se impusiera el novelista ruso, previo a la publicaci贸n de "El idiota", de 1867 pero cruzando los eventos que en esta novela se emparentan con la filosof铆a de muchos personajes de la novela "Los demonios" de 1872 como sucede particularmente con uno de los personajes de "El maestro de Petersburgo", el anarquista que se relaciona con el verdadero, un revolucionario llamado Serg茅i Nech谩iev quien alrededor de 1849 manda a asesinar a Ivanov, uno de sus miembros m谩s por desobedecer sus 贸rdenes que por sopl贸n.
En base a este hecho verdadero, Dostoievski pertrecha la inolvidable novela "Los demonios".
De la misma forma, Coetzee inserta todo esto en la suya, mezclando situaciones de personajes con los de algunas novelas dostoievskianas como "Crimen y Castigo", puntualmente en la visita del Dostoievski ficcional a la comisar铆a que incluye un desmayo similar al de Rask贸lnikov en "Crimen y castigo", la similitud entre el oficial Maximov con Porfirii Petr贸vich, tambi茅n de "Crimen y Castigo", los sucesos que involucran al Nech谩iev de Coetzee y que concuerdan con "Los demonios", a saber, la escena de la imprenta y su relaci贸n con los personajes Shatov y Verjovenski e incluso nombrando al 煤ltimo cap铆tulo de su libro como "Stavroguin", quien tambi茅n es un personaje clave de "Los demonios".
Tambi茅n aparecen aqu铆 alusiones a la novela "Pobres gentes" y "El eterno marido" y muy puntualmente los sucesos de ataques de epilepsia que Dostoievski sufr铆a realmente en su vida y que traslad贸 a otro de sus personajes c茅lebres: el pr铆ncipe Mishkin en la excelente novela "El idiota".
En l铆neas generales es esta un novela como dije muy din谩mica y que nos muestra la ductilidad del autor sudafricano a la hora de narrarnos historias, lo cual confirma, como sostuve previamente por qu茅 es digno merecedor de un premio Nobel.
He le铆do este libro por segunda vez confirmando una serie de realidades acerca de J. M. Coetzee. En primer lugar recordando que fue galardonado con el Premio Nobel de Literatura en 2003. En segundo t茅rmino que se nota por qu茅 se lo dieron.
Por 煤ltimo, que su narrativa es din谩mica y convincente, ya que por momentos Coetzee nos sumerge, ya a partir de la primeras p谩ginas en la vida desesperada de un Dostoievski autoexiliado en Petersburgo que busca obsesionadamente las razones de la muerte de su hijastro Pavel.
Si bien el hijastro de Dostoievski muri贸 de causas naturales (Pabel era el hijo de su hermano), Coetzee reelabora el tema para adecuarlo a su novela, un libro que disfrut茅 mucho y en donde Coetzee nos muestra c贸mo pudo influir la psiquis de Dostoievski para la creaci贸n de sus personajes.
Adem谩s de estos temas, Coetzee mezcla lo ficcional con lo biogr谩fico o emp铆rico de Dostoievski y la resultante es una novela atrayente, especialmente para aquellos que hemos le铆do a Dostoievski asiduamente.
Algo parecido pone en pr谩ctica el autor Peter Ackroyd en su novela "El diario de V铆ctor Frankenstein" utilizando los mismo elementos para desarrollar esa otra interesante novela.
En cuando a Dostoievski, en este caso Coetzee, como indico, utiliza parte de su vida y obra como los son el momento coyuntural de exilio en Europa que se impusiera el novelista ruso, previo a la publicaci贸n de "El idiota", de 1867 pero cruzando los eventos que en esta novela se emparentan con la filosof铆a de muchos personajes de la novela "Los demonios" de 1872 como sucede particularmente con uno de los personajes de "El maestro de Petersburgo", el anarquista que se relaciona con el verdadero, un revolucionario llamado Serg茅i Nech谩iev quien alrededor de 1849 manda a asesinar a Ivanov, uno de sus miembros m谩s por desobedecer sus 贸rdenes que por sopl贸n.
En base a este hecho verdadero, Dostoievski pertrecha la inolvidable novela "Los demonios".
De la misma forma, Coetzee inserta todo esto en la suya, mezclando situaciones de personajes con los de algunas novelas dostoievskianas como "Crimen y Castigo", puntualmente en la visita del Dostoievski ficcional a la comisar铆a que incluye un desmayo similar al de Rask贸lnikov en "Crimen y castigo", la similitud entre el oficial Maximov con Porfirii Petr贸vich, tambi茅n de "Crimen y Castigo", los sucesos que involucran al Nech谩iev de Coetzee y que concuerdan con "Los demonios", a saber, la escena de la imprenta y su relaci贸n con los personajes Shatov y Verjovenski e incluso nombrando al 煤ltimo cap铆tulo de su libro como "Stavroguin", quien tambi茅n es un personaje clave de "Los demonios".
Tambi茅n aparecen aqu铆 alusiones a la novela "Pobres gentes" y "El eterno marido" y muy puntualmente los sucesos de ataques de epilepsia que Dostoievski sufr铆a realmente en su vida y que traslad贸 a otro de sus personajes c茅lebres: el pr铆ncipe Mishkin en la excelente novela "El idiota".
En l铆neas generales es esta un novela como dije muy din谩mica y que nos muestra la ductilidad del autor sudafricano a la hora de narrarnos historias, lo cual confirma, como sostuve previamente por qu茅 es digno merecedor de un premio Nobel.
March 20, 2024
CRITIQUE:
Imaginary Memoirs
The first person narrator of "The Master of Petersburg" is Coetzee's imagining of Fyodor Dostoyevsky as he might have been in October, 1869, immediately before he started writing his third novel, "Demons".
The Master is living in Dresden, when he is summoned back to St. Petersburg after the sudden death of his stepson, Pavel Isaev, on 12 October.
He soon begins to inhabit Pavel's lodgings, haunts and psyche in an attempt to comprehend their shared life and fate and to solve the mystery of his cause of death (suicide or murder, and if the latter, by whom? The police or his insurrectionary acquaintances?).
The relationship between the Master and Pavel hasn't always been amicable. The Master's journey is designed not just to learn more about Pavel, but to reconcile the two of them, albeit too late to make any difference during his lifetime. His immediate goal is to recover Pavel鈥檚 private papers, which have been confiscated by the police. Just as the Master learns things about his stepson, he learns what Pavel thought of him, as well as learning more about himself by way of introspection.
I haven't read any of the biographies of Dostoyevsky, but there appear to be some parallels with actual events in Dostoyevsky's life in the lead up to 1869. However, this is not the point of the novel - to record actual events with historical veracity. Instead, it's a vehicle with which Coetzee can speculate on the writing process used by Dostoyevsky, as well as which Coetzee can utilise to kickstart and structure his own creative process.
Towards the end of the novel, the Master sits down at his writing desk and starts to compose chapters about his experiences in the style of "Demons". In a way, Coetzee returns to and taps the spring that gave life to Dostoyevsky's novel. The aim is to see Dostoyevsky's world with his eyes, if this is at all possible. These are "imaginary memoirs, memories of the imagination."
Fathers and Sons: Foes to the Death
For Coetzee, the Master is symbolic of Russia itself. If we can understand one, we can understand the other. Pavel represents the legacy of both. A student, he had joined a group of anarchists led by the demonic Sergei Nechaev, who urges him to overthrow the government in the name of justice. When the police examine Pavel's personal papers, they find a list of targets for assassination. The Master questions whether the police actually killed his son or whether Nechaev arranged his murder, because they might have fallen out over the composition of the list.
When the Master meets Nechaev, they retroactively become rivals for Pavel's soul; father figures and foes in the quest to determine his future.
This is not the only rivalry: the Master and Pavel are rivals with each other.
Each just wants to be loved and respected by the other ("Father, why have you left me in the dark forest? Father, when will you come to save me?"), but they lock horns in a perpetual power struggle.
In the Master鈥檚 parallel world, he starts to see himself with Pavel鈥檚 eyes. If the Master can find out what Pavel really thought of him, perhaps he will understand himself better.
He recognises that this journey of self-recognition might entail even more pain and hurt than the loss of his son that initiated it.
A Russian Life
The Master reveals no apprehension:
"I am not here in Russia in this time of ours to live a time free of pain. I am required to live - what shall I call it? - a Russian life: a life inside Russia, or with Russia inside me, and whatever Russia means. It is not a fate I can evade."
Nechaev senses the Master鈥檚 opposition to his radical political agenda:
"How can you abandon Russia and return to a contemptible bourgeois existence?"
The Master starts to understand the psychology of Pavel鈥檚 motivation for revolution: "Not the People's Vengeance but the Vengeance of the Sons: is that what underlies revolution - fathers envying their sons their women, sons scheming to rob their fathers' cashboxes?"
Nechaev describes it to the Master:
"Your day is over. Only, instead of passing quietly from the scene, you want to drag the whole world down with you. You resent it that the reins are passing into the hands of younger and stronger men who are going to make a better world..."
"Revolution is the end of everything old, including fathers and sons. It is the end of successions and dynasties. And it keeps renewing itself, if it is true revolution."
Idealist Fathers, Nihilist Sons
In Konstantin Mochulsky's biography of Dostoyevsky, he explains that "nihilist sons are immediately linked...with idealist fathers."
Here, the policeman Maximov asks: 鈥淲hy are dreamers, poets, intelligent young men like your stepson, drawn to bandits like Nechaev?鈥�
The Master responds 鈥淚 do not know. Perhaps because in young people there is something that has not yet gone to sleep, to which the spirit in Nechaev calls. Perhaps it is in all of us: something we think has been dead for centuries but has only been sleeping.鈥�
The Master experiences both anger and grief:
"He can no longer deny it: a gap is opening between himself and the dead boy. He is angry with Pavel, angry at being betrayed. It does not surprise him that Pavel should have been drawn into radical circles, or that he should have breathed no word of it in his letters. But Nechaev is a different matter. Nechaev is no student hothead, no youthful nihilist. He is the Mongol left behind in the Russian soul after the greatest nihilist of all has withdrawn into the wastes of Asia."
The Master contrasts Nechaev with the generation before himself:
鈥淭he [Decembrists and the men of 1849] were idealists. They failed because, to their credit, they were not schemers enough, and certainly not men of blood. Petrashevsky...from the outset denounced the kind of Jesuitism that excuses the means in the name of the end. Nechaev is a Jesuit, a secular Jesuit who quite openly embraces the doctrine of ends to justify the most cynical abuse of his followers鈥� energies.鈥�
In an earlier pamphlet quoted by the Master, Nechaev explains the psychology of an insurrectionist (in the vein of Bakunin):
"The revolutionary is a doomed man. He has no interests, no feelings, no attachments, not even a name. Everything in him is absorbed in a single and total passion: revolution. In the depths of his being he has cut all links with the civil order, with law and morality. He continues to exist in society only in order to destroy it...He does not expect the least mercy. Every day he is ready to die."
The Master adds, "Extremists all of them, sensualists hungering for the ecstasy of death - killing, dying, no matter which. And Pavel among them!"
Dostoyevsky subsequently explored these views in greater detail in 鈥凄别尘辞苍蝉鈥�.
The Writer as Chess-Player
Coetzee is equally interested in the writing process. The following description applies to the Master鈥檚 relationship with Pavel鈥檚 landlady (Anna) just as much as it does to the relationship between writer and reader:
鈥淗e feels like a chess-player offering a pawn which, whether accepted or refused, must lead into deeper complications. Are affairs between men and women always like this, the one plotting, the other plotted against? Is plotting an element of the pleasure: to be the object of another鈥檚 intrigue, to be shepherded into a corner and softly pressed to capitulate? As she walks by his side, is she too, in her way, plotting against him?鈥�
Coetzee鈥檚 novel is intricately plotted and word-perfect. There is a sense that, sentence by sentence, we鈥檙e being transported through a maelstrom of emotion toward a more profound appreciation of both Dostoyevsky and revolutionary Russia.
Date of Review: March 5, 2016
Imaginary Memoirs
The first person narrator of "The Master of Petersburg" is Coetzee's imagining of Fyodor Dostoyevsky as he might have been in October, 1869, immediately before he started writing his third novel, "Demons".
The Master is living in Dresden, when he is summoned back to St. Petersburg after the sudden death of his stepson, Pavel Isaev, on 12 October.
He soon begins to inhabit Pavel's lodgings, haunts and psyche in an attempt to comprehend their shared life and fate and to solve the mystery of his cause of death (suicide or murder, and if the latter, by whom? The police or his insurrectionary acquaintances?).
The relationship between the Master and Pavel hasn't always been amicable. The Master's journey is designed not just to learn more about Pavel, but to reconcile the two of them, albeit too late to make any difference during his lifetime. His immediate goal is to recover Pavel鈥檚 private papers, which have been confiscated by the police. Just as the Master learns things about his stepson, he learns what Pavel thought of him, as well as learning more about himself by way of introspection.
I haven't read any of the biographies of Dostoyevsky, but there appear to be some parallels with actual events in Dostoyevsky's life in the lead up to 1869. However, this is not the point of the novel - to record actual events with historical veracity. Instead, it's a vehicle with which Coetzee can speculate on the writing process used by Dostoyevsky, as well as which Coetzee can utilise to kickstart and structure his own creative process.
Towards the end of the novel, the Master sits down at his writing desk and starts to compose chapters about his experiences in the style of "Demons". In a way, Coetzee returns to and taps the spring that gave life to Dostoyevsky's novel. The aim is to see Dostoyevsky's world with his eyes, if this is at all possible. These are "imaginary memoirs, memories of the imagination."
Fathers and Sons: Foes to the Death
For Coetzee, the Master is symbolic of Russia itself. If we can understand one, we can understand the other. Pavel represents the legacy of both. A student, he had joined a group of anarchists led by the demonic Sergei Nechaev, who urges him to overthrow the government in the name of justice. When the police examine Pavel's personal papers, they find a list of targets for assassination. The Master questions whether the police actually killed his son or whether Nechaev arranged his murder, because they might have fallen out over the composition of the list.
When the Master meets Nechaev, they retroactively become rivals for Pavel's soul; father figures and foes in the quest to determine his future.
This is not the only rivalry: the Master and Pavel are rivals with each other.
Each just wants to be loved and respected by the other ("Father, why have you left me in the dark forest? Father, when will you come to save me?"), but they lock horns in a perpetual power struggle.
In the Master鈥檚 parallel world, he starts to see himself with Pavel鈥檚 eyes. If the Master can find out what Pavel really thought of him, perhaps he will understand himself better.
He recognises that this journey of self-recognition might entail even more pain and hurt than the loss of his son that initiated it.
A Russian Life
The Master reveals no apprehension:
"I am not here in Russia in this time of ours to live a time free of pain. I am required to live - what shall I call it? - a Russian life: a life inside Russia, or with Russia inside me, and whatever Russia means. It is not a fate I can evade."
Nechaev senses the Master鈥檚 opposition to his radical political agenda:
"How can you abandon Russia and return to a contemptible bourgeois existence?"
The Master starts to understand the psychology of Pavel鈥檚 motivation for revolution: "Not the People's Vengeance but the Vengeance of the Sons: is that what underlies revolution - fathers envying their sons their women, sons scheming to rob their fathers' cashboxes?"
Nechaev describes it to the Master:
"Your day is over. Only, instead of passing quietly from the scene, you want to drag the whole world down with you. You resent it that the reins are passing into the hands of younger and stronger men who are going to make a better world..."
"Revolution is the end of everything old, including fathers and sons. It is the end of successions and dynasties. And it keeps renewing itself, if it is true revolution."
Idealist Fathers, Nihilist Sons
In Konstantin Mochulsky's biography of Dostoyevsky, he explains that "nihilist sons are immediately linked...with idealist fathers."
Here, the policeman Maximov asks: 鈥淲hy are dreamers, poets, intelligent young men like your stepson, drawn to bandits like Nechaev?鈥�
The Master responds 鈥淚 do not know. Perhaps because in young people there is something that has not yet gone to sleep, to which the spirit in Nechaev calls. Perhaps it is in all of us: something we think has been dead for centuries but has only been sleeping.鈥�
The Master experiences both anger and grief:
"He can no longer deny it: a gap is opening between himself and the dead boy. He is angry with Pavel, angry at being betrayed. It does not surprise him that Pavel should have been drawn into radical circles, or that he should have breathed no word of it in his letters. But Nechaev is a different matter. Nechaev is no student hothead, no youthful nihilist. He is the Mongol left behind in the Russian soul after the greatest nihilist of all has withdrawn into the wastes of Asia."
The Master contrasts Nechaev with the generation before himself:
鈥淭he [Decembrists and the men of 1849] were idealists. They failed because, to their credit, they were not schemers enough, and certainly not men of blood. Petrashevsky...from the outset denounced the kind of Jesuitism that excuses the means in the name of the end. Nechaev is a Jesuit, a secular Jesuit who quite openly embraces the doctrine of ends to justify the most cynical abuse of his followers鈥� energies.鈥�
In an earlier pamphlet quoted by the Master, Nechaev explains the psychology of an insurrectionist (in the vein of Bakunin):
"The revolutionary is a doomed man. He has no interests, no feelings, no attachments, not even a name. Everything in him is absorbed in a single and total passion: revolution. In the depths of his being he has cut all links with the civil order, with law and morality. He continues to exist in society only in order to destroy it...He does not expect the least mercy. Every day he is ready to die."
The Master adds, "Extremists all of them, sensualists hungering for the ecstasy of death - killing, dying, no matter which. And Pavel among them!"
Dostoyevsky subsequently explored these views in greater detail in 鈥凄别尘辞苍蝉鈥�.
The Writer as Chess-Player
Coetzee is equally interested in the writing process. The following description applies to the Master鈥檚 relationship with Pavel鈥檚 landlady (Anna) just as much as it does to the relationship between writer and reader:
鈥淗e feels like a chess-player offering a pawn which, whether accepted or refused, must lead into deeper complications. Are affairs between men and women always like this, the one plotting, the other plotted against? Is plotting an element of the pleasure: to be the object of another鈥檚 intrigue, to be shepherded into a corner and softly pressed to capitulate? As she walks by his side, is she too, in her way, plotting against him?鈥�
Coetzee鈥檚 novel is intricately plotted and word-perfect. There is a sense that, sentence by sentence, we鈥檙e being transported through a maelstrom of emotion toward a more profound appreciation of both Dostoyevsky and revolutionary Russia.
Date of Review: March 5, 2016
March 30, 2020
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賳讴鬲賴 賲丕噩乇丕 丕蹖賳 丕爻鬲 讴賴 丿乇 毓丕賱賲 賵丕賯毓 丕蹖賳 丕鬲賮丕賯 賳賴 亘乇丕蹖 丿丕爻鬲丕蹖賮爻讴蹖貙 讴賴 亘乇丕蹖 禺賵丿 讴賵鬲爻蹖 丕賮鬲丕丿賴 丕爻鬲. 丿丕爻鬲丕蹖賮爻讴蹖 倬爻乇禺賵丕賳丿賴鈥屫й� 丿丕卮鬲賴 賵賱蹖 丕蹖賳 倬爻乇禺賵丕賳丿賴 鬲丕 爻丕賱鈥屬囏� 亘毓丿 丕夭 賲乇诏 丿丕爻鬲丕蹖賮爻讴蹖 賴賲 夭賳丿賴 亘賵丿賴. 丕賲丕 倬爻乇 禺賵丿 讴賵鬲爻蹖 丿乇 噩賵丕賳蹖 丕夭 亘賱賳丿蹖 倬丕蹖蹖賳 丕賮鬲丕丿賴 賵 賲乇丿賴貙 賵 讴賵卅鬲爻蹖 丕蹖賳 賮丕噩毓賴 卮禺氐蹖 乇丕 亘賴 夭賳丿诏蹖 蹖讴 賳丕亘睾賴 賵 亘賴 丿賵乇丕賳 鬲丕乇蹖禺蹖 丿蹖诏乇蹖 亘乇丿賴.
趩蹖夭 亘蹖卮鬲乇蹖 賳丿丕乇賲 丿乇亘丕乇賴 讴鬲丕亘 亘诏賵蹖賲貙 賵賱蹖 亘丕 禺賵丕賳丿賳 賴賲蹖賳 蹖讴 乇賲丕賳 丕夭 讴賵鬲爻蹖 (讴賴 馗丕賴乇丕賸 賲卮賴賵乇鬲乇蹖賳 賵 賲賴賲鈥屫臂屬� 讴丕乇卮 賴賲 賳蹖爻鬲) 賲蹖鈥屫促堌� 賮賴賲蹖丿 趩賴 賳賵蹖爻賳丿賴 亘夭乇诏 賵 鬲賵丕賳丕蹖蹖 丕爻鬲.
趩賳丿 噩賲賱賴 丿乇亘丕乇賴 鬲乇噩賲賴 讴鬲丕亘: 丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 乇丕 賳卮乇 賲丕賴蹖 亘丕 鬲乇噩賲賴 賲丨賲丿乇囟丕 鬲乇讴鈥屫ж臂� 賲賳鬲卮乇 讴乇丿賴 丕爻鬲. 丕蹖賳 讴鬲丕亘 丕賵賱蹖賳 鬲乇噩賲賴鈥屫й� 丕爻鬲 讴賴 丕夭 鬲鬲丕乇蹖 賲賳鬲卮乇 賲蹖鈥屫促堌� 賵 賲賵噩賴 丕爻鬲 丕诏乇 倬乇爻蹖丿賴 卮賵丿 趩乇丕 賳丕卮乇 趩賳蹖賳 讴鬲丕亘 賲賴賲 (賵 丿卮賵丕乇蹖) 乇丕 亘乇丕蹖 鬲乇噩賲賴 亘賴 賲鬲乇噩賲蹖 鬲丕夭賴鈥屭┴ж� 爻倬乇丿賴 丕爻鬲. 賲賳 趩賳丿 氐賮丨賴 丕夭 賲鬲賳 丕賳诏賱蹖爻蹖 丕蹖賳 讴鬲丕亘 乇丕 禺賵丕賳丿賲 賵 亘賴 賳馗乇賲 讴賲鬲乇 賲鬲乇噩賲蹖 丿乇 丕蹖乇丕賳 賲蹖鈥屫堌з嗀池� 亘賴鈥屫嗁囏й屰� 丕夭 倬爻 鬲乇噩賲賴 禺賵亘 丕蹖賳 讴鬲丕亘 亘乇亘蹖丕蹖丿. 丿乇 賴乇 丨丕賱 鬲乇噩賲賴 鬲乇讴鈥屫ж臂� 乇丕 賲賴丿蹖 賳賵乇蹖 賵 爻倬丕爻 乇蹖賵賳丿蹖 賵蹖乇丕蹖卮 讴乇丿賳丿 賵 賲賳 讴賴 丨丕氐賱 賳賴丕蹖蹖 讴丕乇 乇丕 禺賵丕賳丿賴鈥屫з� (賵 亘禺卮鈥屬囏й屰� 丕夭 丌賳 乇丕 亘丕 賲鬲賳 丕氐賱蹖 賲胤丕亘賯鬲 丿丕丿賴鈥屫з�) 賮讴乇 賲蹖鈥屭┵嗁� 丨賯 賲胤賱亘 丕丿丕 卮丿賴 賵 賲鬲賳蹖 讴賴 丿爻鬲 禺賵丕賳賳丿賴 丕爻鬲 鬲乇噩賲賴鈥屫й� 丕爻鬲 丿乇噩賴 蹖讴.
囟賲賳丕 讴鬲丕亘 倬乇 丕爻鬲 丕夭 丕卮丕乇丕鬲 乇賵卮賳 賵 丿乇 賱賮丕賮賴 亘賴 夭賳丿诏蹖 賵 丌孬丕乇 丿蹖诏乇 丿丕爻鬲丕蹖賮爻讴蹖. 丕賱亘鬲賴 亘丿賵賳 丿丕賳爻鬲賳 丕蹖賳鈥屬囏� 賴賲 丿丕爻鬲丕賳 亘賴 丕賳丿丕夭賴 讴丕賮蹖 賱匕鬲亘禺卮 丕爻鬲 賵賱蹖 亘丕 賮賴賲蹖丿賳 丌賳鈥屬囏� 賱匕鬲卮 亘蹖卮鬲乇 賲蹖鈥屫促堌�. 賲鬲乇噩賲 賵 賵蹖乇丕爻鬲丕乇丕賳 鬲丕 噩丕蹖蹖 讴賴 亘賴 爻賴賵賱鬲 禺賵丕賳丿賳 讴鬲丕亘 賱胤賲賴 賳夭賳丿 爻毓蹖 讴乇丿賴鈥屫з嗀� 丿乇 倬丕賳賵卮鬲鈥屬囏й屰� 丕蹖賳 丕乇噩丕毓丕鬲 乇丕 鬲賵囟蹖丨 丿賴賳丿貙 丕賲丕 丕氐賱 讴丕乇 乇丕 诏匕丕卮鬲賴鈥屫з嗀� 亘乇丕蹖 賲丐禺乇賴. 爻倬丕爻 乇蹖賵賳丿蹖貙 蹖讴蹖 丕夭 賵蹖乇丕爻鬲丕乇丕賳 讴鬲丕亘貙 丿乇 賲丐禺乇賴鈥屫й� 讴賴 亘乇丕蹖 讴鬲丕亘 賳賵卮鬲賴 丕乇鬲亘丕胤 賵賯丕蹖毓 丕蹖賳 乇賲丕賳 亘丕 夭賳丿诏蹖 丿丕爻鬲丕蹖賮爻讴蹖 賵 賲卮禺氐丕賸 賲賯丿賲丕鬲 賳賵卮鬲賴鈥屫簇� 乇賲丕賳 卮蹖丕胤蹖賳 (噩賳鈥屫藏з嗀� 鬲爻禺蹖乇卮丿诏丕賳) 乇丕 卮乇丨 丿丕丿賴 丕爻鬲.
鬲讴賴鈥屫й� 丕夭 賲丐禺乇賴 讴鬲丕亘 亘賴 賯賱賲 爻倬丕爻 乇蹖賵賳丿蹖:
芦噩丕賳 賲讴爻賵賱 讴賵鬲爻蹖貙 亘乇賳丿賴鈥屰� 丿賵 噩丕蹖夭賴鈥屰� 亘賵讴乇貙 噩丕蹖夭賴鈥屰� 賳賵亘賱 賵 噩賵丕蹖夭 丕丿亘蹖 賲鬲毓丿丿 丿蹖诏乇貙 亘乇丕蹖 禺賵丕賳賳丿诏丕賳 丨乇賮賴鈥屫й� 賳丕賲蹖 丌卮賳丕爻鬲.
蹖讴蹖 丕夭 賲爻丕卅賱蹖 讴賴 匕賴賳 讴賵鬲爻蹖 乇丕 亘賴 禺賵丿 賲卮睾賵賱 讴乇丿賴 賳爻亘鬲 賲蹖丕賳 乇賲丕賳 賵 鬲丕乇蹖禺 丕爻鬲. 讴賵鬲爻蹖 丿乇 噩爻鬲鈥屬堌堐� 乇丕賴鈥屬囏й屰� 丕爻鬲 讴賴 亘丕 丌賳 亘鬲賵丕賳 乇賲丕賳 乇丕 亘賴 賳賵毓蹖 鈥溫辟傐屫� 鬲丕乇蹖禺鈥� 亘丿賱 讴乇丿. 丕丨鬲賲丕賱丕 鬲讴丕賳鈥屫囐嗀団€屫臂屬� 丿爻鬲丕賵乇丿 乇賵丕蹖蹖 丕賵 丿乇亘丕乇賴鈥屰� 賳爻亘鬲 賲蹖丕賳 丿丕爻鬲丕賳 賵 鬲丕乇蹖禺 乇賲丕賳蹖 丕爻鬲 讴賴 丿乇 爻丕賱 郾酃酃鄞 丕賳鬲卮丕乇 丿丕丿貙 蹖毓賳蹖 賵賯鬲蹖 丕賮乇蹖賯丕蹖 噩賳賵亘蹖 丿乇 蹖讴 賳賯胤賴鈥屰� 毓胤賮 鬲丕乇蹖禺 亘賵丿 賵 亘乇丕蹖 丕賵賱蹖賳 亘丕乇 丕賳鬲禺丕亘 乇蹖丕爻鬲鈥屫呝囐堌臂� 丌夭丕丿 亘乇诏夭丕乇 賲蹖鈥屫簇�. 丿乇 丕蹖賳 夭賲丕賳貙 讴賵鬲爻蹖 讴鬲丕亘蹖 賲賳鬲卮乇 讴乇丿 讴賴 賲丕噩乇丕 賵 賲丨賱 賵賯賵毓 賵 丨丕賱 賵 賴賵丕蹖 丌賳 馗丕賴乇丕賸 賴蹖趩 賳爻亘鬲蹖 亘丕 鬲噩乇亘賴鈥屰� 爻蹖丕爻蹖 丌賳 乇賵夭賴丕蹖 讴卮賵乇卮 賳丿丕卮鬲: 丕爻鬲丕丿 倬鬲乇夭亘賵乇诏. 丕蹖賳 乇賲丕賳 鬲丕 丨丿蹖 亘乇 夭賳丿诏蹖鈥屬嗀з呝団€屰� 賮蹖賵丿賵乇 丿丕爻鬲丕蹖賮爻讴蹖 賲亘鬲賳蹖 丕爻鬲. 丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 丕孬乇蹖 丕爻鬲 亘賴 睾丕蹖鬲 倬蹖趩蹖丿賴 賵 毓賲蹖賯 賵 亘賴 爻丐丕賱丕鬲蹖 賲蹖鈥屬矩必ж藏� 讴賴 讴賴 亘丕 賲賱丕丨馗丕鬲蹖 賲蹖鈥屫堌з� 丌賳 乇丕 亘賴 夭賳丿诏蹖 賴乇 賮乇丿 丿乇 蹖讴 乇跇蹖賲 爻蹖丕爻鬲丕賸 爻乇讴賵亘诏乇 丕胤賱丕賯 讴乇丿.禄
賳讴鬲賴 賲丕噩乇丕 丕蹖賳 丕爻鬲 讴賴 丿乇 毓丕賱賲 賵丕賯毓 丕蹖賳 丕鬲賮丕賯 賳賴 亘乇丕蹖 丿丕爻鬲丕蹖賮爻讴蹖貙 讴賴 亘乇丕蹖 禺賵丿 讴賵鬲爻蹖 丕賮鬲丕丿賴 丕爻鬲. 丿丕爻鬲丕蹖賮爻讴蹖 倬爻乇禺賵丕賳丿賴鈥屫й� 丿丕卮鬲賴 賵賱蹖 丕蹖賳 倬爻乇禺賵丕賳丿賴 鬲丕 爻丕賱鈥屬囏� 亘毓丿 丕夭 賲乇诏 丿丕爻鬲丕蹖賮爻讴蹖 賴賲 夭賳丿賴 亘賵丿賴. 丕賲丕 倬爻乇 禺賵丿 讴賵鬲爻蹖 丿乇 噩賵丕賳蹖 丕夭 亘賱賳丿蹖 倬丕蹖蹖賳 丕賮鬲丕丿賴 賵 賲乇丿賴貙 賵 讴賵卅鬲爻蹖 丕蹖賳 賮丕噩毓賴 卮禺氐蹖 乇丕 亘賴 夭賳丿诏蹖 蹖讴 賳丕亘睾賴 賵 亘賴 丿賵乇丕賳 鬲丕乇蹖禺蹖 丿蹖诏乇蹖 亘乇丿賴.
趩蹖夭 亘蹖卮鬲乇蹖 賳丿丕乇賲 丿乇亘丕乇賴 讴鬲丕亘 亘诏賵蹖賲貙 賵賱蹖 亘丕 禺賵丕賳丿賳 賴賲蹖賳 蹖讴 乇賲丕賳 丕夭 讴賵鬲爻蹖 (讴賴 馗丕賴乇丕賸 賲卮賴賵乇鬲乇蹖賳 賵 賲賴賲鈥屫臂屬� 讴丕乇卮 賴賲 賳蹖爻鬲) 賲蹖鈥屫促堌� 賮賴賲蹖丿 趩賴 賳賵蹖爻賳丿賴 亘夭乇诏 賵 鬲賵丕賳丕蹖蹖 丕爻鬲.
趩賳丿 噩賲賱賴 丿乇亘丕乇賴 鬲乇噩賲賴 讴鬲丕亘: 丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 乇丕 賳卮乇 賲丕賴蹖 亘丕 鬲乇噩賲賴 賲丨賲丿乇囟丕 鬲乇讴鈥屫ж臂� 賲賳鬲卮乇 讴乇丿賴 丕爻鬲. 丕蹖賳 讴鬲丕亘 丕賵賱蹖賳 鬲乇噩賲賴鈥屫й� 丕爻鬲 讴賴 丕夭 鬲鬲丕乇蹖 賲賳鬲卮乇 賲蹖鈥屫促堌� 賵 賲賵噩賴 丕爻鬲 丕诏乇 倬乇爻蹖丿賴 卮賵丿 趩乇丕 賳丕卮乇 趩賳蹖賳 讴鬲丕亘 賲賴賲 (賵 丿卮賵丕乇蹖) 乇丕 亘乇丕蹖 鬲乇噩賲賴 亘賴 賲鬲乇噩賲蹖 鬲丕夭賴鈥屭┴ж� 爻倬乇丿賴 丕爻鬲. 賲賳 趩賳丿 氐賮丨賴 丕夭 賲鬲賳 丕賳诏賱蹖爻蹖 丕蹖賳 讴鬲丕亘 乇丕 禺賵丕賳丿賲 賵 亘賴 賳馗乇賲 讴賲鬲乇 賲鬲乇噩賲蹖 丿乇 丕蹖乇丕賳 賲蹖鈥屫堌з嗀池� 亘賴鈥屫嗁囏й屰� 丕夭 倬爻 鬲乇噩賲賴 禺賵亘 丕蹖賳 讴鬲丕亘 亘乇亘蹖丕蹖丿. 丿乇 賴乇 丨丕賱 鬲乇噩賲賴 鬲乇讴鈥屫ж臂� 乇丕 賲賴丿蹖 賳賵乇蹖 賵 爻倬丕爻 乇蹖賵賳丿蹖 賵蹖乇丕蹖卮 讴乇丿賳丿 賵 賲賳 讴賴 丨丕氐賱 賳賴丕蹖蹖 讴丕乇 乇丕 禺賵丕賳丿賴鈥屫з� (賵 亘禺卮鈥屬囏й屰� 丕夭 丌賳 乇丕 亘丕 賲鬲賳 丕氐賱蹖 賲胤丕亘賯鬲 丿丕丿賴鈥屫з�) 賮讴乇 賲蹖鈥屭┵嗁� 丨賯 賲胤賱亘 丕丿丕 卮丿賴 賵 賲鬲賳蹖 讴賴 丿爻鬲 禺賵丕賳賳丿賴 丕爻鬲 鬲乇噩賲賴鈥屫й� 丕爻鬲 丿乇噩賴 蹖讴.
囟賲賳丕 讴鬲丕亘 倬乇 丕爻鬲 丕夭 丕卮丕乇丕鬲 乇賵卮賳 賵 丿乇 賱賮丕賮賴 亘賴 夭賳丿诏蹖 賵 丌孬丕乇 丿蹖诏乇 丿丕爻鬲丕蹖賮爻讴蹖. 丕賱亘鬲賴 亘丿賵賳 丿丕賳爻鬲賳 丕蹖賳鈥屬囏� 賴賲 丿丕爻鬲丕賳 亘賴 丕賳丿丕夭賴 讴丕賮蹖 賱匕鬲亘禺卮 丕爻鬲 賵賱蹖 亘丕 賮賴賲蹖丿賳 丌賳鈥屬囏� 賱匕鬲卮 亘蹖卮鬲乇 賲蹖鈥屫促堌�. 賲鬲乇噩賲 賵 賵蹖乇丕爻鬲丕乇丕賳 鬲丕 噩丕蹖蹖 讴賴 亘賴 爻賴賵賱鬲 禺賵丕賳丿賳 讴鬲丕亘 賱胤賲賴 賳夭賳丿 爻毓蹖 讴乇丿賴鈥屫з嗀� 丿乇 倬丕賳賵卮鬲鈥屬囏й屰� 丕蹖賳 丕乇噩丕毓丕鬲 乇丕 鬲賵囟蹖丨 丿賴賳丿貙 丕賲丕 丕氐賱 讴丕乇 乇丕 诏匕丕卮鬲賴鈥屫з嗀� 亘乇丕蹖 賲丐禺乇賴. 爻倬丕爻 乇蹖賵賳丿蹖貙 蹖讴蹖 丕夭 賵蹖乇丕爻鬲丕乇丕賳 讴鬲丕亘貙 丿乇 賲丐禺乇賴鈥屫й� 讴賴 亘乇丕蹖 讴鬲丕亘 賳賵卮鬲賴 丕乇鬲亘丕胤 賵賯丕蹖毓 丕蹖賳 乇賲丕賳 亘丕 夭賳丿诏蹖 丿丕爻鬲丕蹖賮爻讴蹖 賵 賲卮禺氐丕賸 賲賯丿賲丕鬲 賳賵卮鬲賴鈥屫簇� 乇賲丕賳 卮蹖丕胤蹖賳 (噩賳鈥屫藏з嗀� 鬲爻禺蹖乇卮丿诏丕賳) 乇丕 卮乇丨 丿丕丿賴 丕爻鬲.
鬲讴賴鈥屫й� 丕夭 賲丐禺乇賴 讴鬲丕亘 亘賴 賯賱賲 爻倬丕爻 乇蹖賵賳丿蹖:
芦噩丕賳 賲讴爻賵賱 讴賵鬲爻蹖貙 亘乇賳丿賴鈥屰� 丿賵 噩丕蹖夭賴鈥屰� 亘賵讴乇貙 噩丕蹖夭賴鈥屰� 賳賵亘賱 賵 噩賵丕蹖夭 丕丿亘蹖 賲鬲毓丿丿 丿蹖诏乇貙 亘乇丕蹖 禺賵丕賳賳丿诏丕賳 丨乇賮賴鈥屫й� 賳丕賲蹖 丌卮賳丕爻鬲.
蹖讴蹖 丕夭 賲爻丕卅賱蹖 讴賴 匕賴賳 讴賵鬲爻蹖 乇丕 亘賴 禺賵丿 賲卮睾賵賱 讴乇丿賴 賳爻亘鬲 賲蹖丕賳 乇賲丕賳 賵 鬲丕乇蹖禺 丕爻鬲. 讴賵鬲爻蹖 丿乇 噩爻鬲鈥屬堌堐� 乇丕賴鈥屬囏й屰� 丕爻鬲 讴賴 亘丕 丌賳 亘鬲賵丕賳 乇賲丕賳 乇丕 亘賴 賳賵毓蹖 鈥溫辟傐屫� 鬲丕乇蹖禺鈥� 亘丿賱 讴乇丿. 丕丨鬲賲丕賱丕 鬲讴丕賳鈥屫囐嗀団€屫臂屬� 丿爻鬲丕賵乇丿 乇賵丕蹖蹖 丕賵 丿乇亘丕乇賴鈥屰� 賳爻亘鬲 賲蹖丕賳 丿丕爻鬲丕賳 賵 鬲丕乇蹖禺 乇賲丕賳蹖 丕爻鬲 讴賴 丿乇 爻丕賱 郾酃酃鄞 丕賳鬲卮丕乇 丿丕丿貙 蹖毓賳蹖 賵賯鬲蹖 丕賮乇蹖賯丕蹖 噩賳賵亘蹖 丿乇 蹖讴 賳賯胤賴鈥屰� 毓胤賮 鬲丕乇蹖禺 亘賵丿 賵 亘乇丕蹖 丕賵賱蹖賳 亘丕乇 丕賳鬲禺丕亘 乇蹖丕爻鬲鈥屫呝囐堌臂� 丌夭丕丿 亘乇诏夭丕乇 賲蹖鈥屫簇�. 丿乇 丕蹖賳 夭賲丕賳貙 讴賵鬲爻蹖 讴鬲丕亘蹖 賲賳鬲卮乇 讴乇丿 讴賴 賲丕噩乇丕 賵 賲丨賱 賵賯賵毓 賵 丨丕賱 賵 賴賵丕蹖 丌賳 馗丕賴乇丕賸 賴蹖趩 賳爻亘鬲蹖 亘丕 鬲噩乇亘賴鈥屰� 爻蹖丕爻蹖 丌賳 乇賵夭賴丕蹖 讴卮賵乇卮 賳丿丕卮鬲: 丕爻鬲丕丿 倬鬲乇夭亘賵乇诏. 丕蹖賳 乇賲丕賳 鬲丕 丨丿蹖 亘乇 夭賳丿诏蹖鈥屬嗀з呝団€屰� 賮蹖賵丿賵乇 丿丕爻鬲丕蹖賮爻讴蹖 賲亘鬲賳蹖 丕爻鬲. 丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 丕孬乇蹖 丕爻鬲 亘賴 睾丕蹖鬲 倬蹖趩蹖丿賴 賵 毓賲蹖賯 賵 亘賴 爻丐丕賱丕鬲蹖 賲蹖鈥屬矩必ж藏� 讴賴 讴賴 亘丕 賲賱丕丨馗丕鬲蹖 賲蹖鈥屫堌з� 丌賳 乇丕 亘賴 夭賳丿诏蹖 賴乇 賮乇丿 丿乇 蹖讴 乇跇蹖賲 爻蹖丕爻鬲丕賸 爻乇讴賵亘诏乇 丕胤賱丕賯 讴乇丿.禄
July 7, 2013
Disappointingly often, I find that people tend to confuse the views of fictional characters created by an author with the views of the author him or herself. I think that's the heart of my problem with this novel, "The Master of Petersburg".
It's not that this is a bad book, either. Coetzee is a marvelous writer, and at times managed to truly enrapture me in the plot and in his characters. So I suppose I am objecting to this work on principle. Coetzee understands what makes a compelling read: conflicted characters, ambiguous motives, intrigue, and, yes, a few sexy scenes. So it's a bit befuddling to me how thoroughly he fails to understand Dostoyevsky. As I said before, I think it's a matter of Coetzee taking the words of some of Dostoyevsky's more negative, tortured characters, and imposing their opinions on their author, equating them to become one and the same. Coetzee's Dostoyevsky is so troubled as to be utterly useless as a character, and his actions make less and less sense with each turn of the page. Of course, "The Master of Petersburg" is meant to be completely fictional-- none of these events actually occurred in Dostoyevsky's life-- but Coetzee's view of the Russian novelist is such a departure from the reality that he should have simply made up his own main character instead.
In a few places, I did begin to see glimmers of a more believable Dostoyevsky. Coetzee triumphs in describing Dostoyevsky's secret and obsessive shame over his epilepsy, and the fear that he would have a seizure in front of other people: "These attacks are the burden he carries with him through the world. To no one has he ever confessed how much of his time he spends listening for premonitions of them, trying to read the signs" (69). At last, we readers are afforded a more sympathetic glance at a character who is otherwise almost too neurotic to identify with.
Hints of Dostoyevsky's cleverness, and his haunting memories of Siberian prison, also surface in the scenes with the police investigators. Sadly, moments like these-- which elevate the novel-- are few and far between. Far more often Coetzee prefers to torment readers with pages and pages of his Dostoyevsky either acting like a mental patient or thinking (obsessively) about sex with literally every female character (and not just those who are of age). Depictions like these tempted me to snap the book shut right then and there, because portraying Dostoyevsky in such a way is a downright defamation to the person that he was. As an avid defender of the poor and suffering, especially children, and one who spoke out strongly against the injustices against women in 19th century Russia (in characters like Sonya Marmeladova in "Crime and Punishment" and Nastasya Filipovna in "The Idiot", and in short stories such as "A Christmas Tree and a Wedding")the real Dostoyevsky would never think to take advantage of an innocent in such a manner.
And I can't finish this review without mentioning Anna Grigoryevna, Dostoyevsky's second wife (after his first died of Consumption). I am sick and tired of writers and biographers portraying her as a passive enabler and/or a submissive victim. She never appears in "The Master of Petersburg" to defend herself, but Coetzee quickly writes her off as filling all of the above criteria. Meanwhile, his Dostoyevsky-- visiting Saint Petersburg while Anna waits for him abroad in Germany-- proceeds to cheat on her with his landlady, a psych case whom I spent the entire novel wanting to punch in the throat. Anyone who has read Joseph Frank's masterful biography of Dostoyevsky, or Anna Dostoyevskaya's own "Reminiscences" knows that Anna was a remarkably strong woman, far from the passive pushover Coetzee makes her out to be. Anyone who has read her and Dostoyevsky's letters to one another (passages from which are included in Frank's biography) knows that she was CERTAINLY not unfulfilled, and that her relationship with-- and passion for-- her husband was a two-way street!
All in all, I just found Coetzee's impression of Dostoyevsky's mindset and life incredibly depressing. In a way, I feel bad for him that he has seemingly failed to find the indomitable spirit of hope present in so much of Dostoyevsky's work. No, Dostoyevsky wasn't a saint, and, yes, he made his fair share of mistakes, but overall he was a compassionate person who stood up for what he believed in, no matter the consequences. And I find it ironic that the unfailing hope despite all, so omnipresent in Dostoyevsky's work-- for which he is my favorite author-- is so terribly absent in Coetzee's lackluster novel.
It's not that this is a bad book, either. Coetzee is a marvelous writer, and at times managed to truly enrapture me in the plot and in his characters. So I suppose I am objecting to this work on principle. Coetzee understands what makes a compelling read: conflicted characters, ambiguous motives, intrigue, and, yes, a few sexy scenes. So it's a bit befuddling to me how thoroughly he fails to understand Dostoyevsky. As I said before, I think it's a matter of Coetzee taking the words of some of Dostoyevsky's more negative, tortured characters, and imposing their opinions on their author, equating them to become one and the same. Coetzee's Dostoyevsky is so troubled as to be utterly useless as a character, and his actions make less and less sense with each turn of the page. Of course, "The Master of Petersburg" is meant to be completely fictional-- none of these events actually occurred in Dostoyevsky's life-- but Coetzee's view of the Russian novelist is such a departure from the reality that he should have simply made up his own main character instead.
In a few places, I did begin to see glimmers of a more believable Dostoyevsky. Coetzee triumphs in describing Dostoyevsky's secret and obsessive shame over his epilepsy, and the fear that he would have a seizure in front of other people: "These attacks are the burden he carries with him through the world. To no one has he ever confessed how much of his time he spends listening for premonitions of them, trying to read the signs" (69). At last, we readers are afforded a more sympathetic glance at a character who is otherwise almost too neurotic to identify with.
Hints of Dostoyevsky's cleverness, and his haunting memories of Siberian prison, also surface in the scenes with the police investigators. Sadly, moments like these-- which elevate the novel-- are few and far between. Far more often Coetzee prefers to torment readers with pages and pages of his Dostoyevsky either acting like a mental patient or thinking (obsessively) about sex with literally every female character (and not just those who are of age). Depictions like these tempted me to snap the book shut right then and there, because portraying Dostoyevsky in such a way is a downright defamation to the person that he was. As an avid defender of the poor and suffering, especially children, and one who spoke out strongly against the injustices against women in 19th century Russia (in characters like Sonya Marmeladova in "Crime and Punishment" and Nastasya Filipovna in "The Idiot", and in short stories such as "A Christmas Tree and a Wedding")the real Dostoyevsky would never think to take advantage of an innocent in such a manner.
And I can't finish this review without mentioning Anna Grigoryevna, Dostoyevsky's second wife (after his first died of Consumption). I am sick and tired of writers and biographers portraying her as a passive enabler and/or a submissive victim. She never appears in "The Master of Petersburg" to defend herself, but Coetzee quickly writes her off as filling all of the above criteria. Meanwhile, his Dostoyevsky-- visiting Saint Petersburg while Anna waits for him abroad in Germany-- proceeds to cheat on her with his landlady, a psych case whom I spent the entire novel wanting to punch in the throat. Anyone who has read Joseph Frank's masterful biography of Dostoyevsky, or Anna Dostoyevskaya's own "Reminiscences" knows that Anna was a remarkably strong woman, far from the passive pushover Coetzee makes her out to be. Anyone who has read her and Dostoyevsky's letters to one another (passages from which are included in Frank's biography) knows that she was CERTAINLY not unfulfilled, and that her relationship with-- and passion for-- her husband was a two-way street!
All in all, I just found Coetzee's impression of Dostoyevsky's mindset and life incredibly depressing. In a way, I feel bad for him that he has seemingly failed to find the indomitable spirit of hope present in so much of Dostoyevsky's work. No, Dostoyevsky wasn't a saint, and, yes, he made his fair share of mistakes, but overall he was a compassionate person who stood up for what he believed in, no matter the consequences. And I find it ironic that the unfailing hope despite all, so omnipresent in Dostoyevsky's work-- for which he is my favorite author-- is so terribly absent in Coetzee's lackluster novel.
August 14, 2020
5/5
Tur臈t懦 b奴ti atskiras 啪odis gedului ir sielvartui, kur寞 patiria t臈vai, laidodami savo vaikus, net jei praradimas yra taisykl臈, o ne i拧imtis. Ir prie拧 t膮 skausm膮, rodos, nieko n臈ra nepateisinamo, tuo pa膷iu ir nieko pasiteisinan膷io 鈥� viskas k膮 darai, k膮 bandai, ko griebiesi 鈥� viskas tik dar viena siena, 寞 kuri膮 atsitrenki 鈥� dar vieni vartai, kuriuos bandai atidaryti, dar viena tamsa, 寞 kuri膮 pasineri, dar vienas delnas aplink kakl膮, neleid啪iantis 寞kv臈pti. Ar delnas to, kuris i拧臈jo? Ar tiesiog tavo paties? Ir kur prasideda tas, kuris gim臈 i拧 tav臋s, o pasibaigi tu pats? Ir tos gelm臈s, 寞 kurias neri, kurios pripildo plau膷ius vandens 鈥� nekenti gylio, 寞 kur寞 pasineri, bet tuo pa膷iu nek臋stum ir seklumos. Nes tas, kuris i拧臈jo, buvo vertas tik pla膷iausi懦, giliausi懦 vanden懦. Ir likai juose kapanotis vienas. O gal niekada nebeb奴si vienas? Ar tas, kuris i拧eina, palieka dal寞 sav臋s? Ar pasiima dal寞 tav臋s? Kaip dalinasi sielos tokio skausmo akivaizdoje?
鈥濸eterburgo meistras鈥� 鈥� tariamai biografi拧ka, bet i拧 ties懦 nepaprastai autobiografi拧ka knyga. Prisidengdamas Fiodoro Dostojevskio vardu, veidu ir patirtimis, gausiai perleistomis per savo paties prizm臋, Coetzee tarsi 啪velgia i拧 u啪 拧ydo, kauk臈s, kalb臈damas apie savo paties skausm膮 鈥� anksti paslaptingomis aplinkyb臈mis mirus寞 savo paties s奴n懦, skausm膮 t臈vo, gedin膷io vaiko. Coetzee 寞suka ne tik 寞 skausmo, lydin膷io kiekviename sakinyje, bet ir 寞 literat奴rinio meistri拧kumo, detektyvinio veiksmo, savo ir kit懦 seksualumo, politikos, socialin臈s (ne)lygyb臈s, ekonomikos s奴kur寞. Sielvartas, u啪trenkiantis siel膮 寞 tamsiausi膮 kal臈jim膮, tuo pat metu atveria nepaprastai daug dur懦, pro kuri懦 rakto skylutes Coetzee leid啪ia 啪vilgtel臈ti 鈥� niekur neu啪sib奴damas per ilgai, neleisdamas nei nuobod啪iauti, nei pamir拧ti kod臈l 膷ia esame. Nes viskas galiausiai veda ten pat, visi keliai prasideda ir pasibaigia stovint akis 寞 ak寞 su did啪iausiu 寞manomu skausmu. Tokiu dideliu, kad net nesuvokiamu.
Vienintelis priekai拧tas, kur寞 turiu 拧iai nuostabiai para拧ytai, nepriekai拧tingai Reginos Chijenien臈s i拧verstai knygai 鈥� Coetzee pasirinkimas skaitytoj膮 vesti koja kojon su Fiodoru Dostojevskiu. Pastarasis, kuriamas talentingo k奴r臈jo, prie拧 skaitytoj膮 nesimato ai拧kiai 鈥� jis i拧kreiptas, kreiv懦 veidrod啪i懦 karalyst臈je. 漠 jo l奴pas dedami 啪od啪iai, 寞 jo siel膮 鈥� pasirinkimai, sprendimai, mintys, vietomis tokie siaubingi ir sunkiai pateisinami, jog priskirti juos tam, kuris nebegali apsiginti, atrodo neteisinga, apgaulinga. Ir nors akivaizdu, kad 寞 roman膮 nereik臈t懦 啪velgti kaip 寞 Dostojevskio biografij膮, vis d臈lto atrodo, kad 鈥濸eterburgo meistras鈥� b奴t懦 buv臋s toks pat meistri拧kas, jei Coetzee b奴t懦 kalb臈j臋s kieno nors kito l奴pomis. Vis d臈lto, atsiribojant nuo bet kokio knygos biografi拧kumo, tai vis tiek nuostabus, l臈to skanavimo k奴rinys, mano akyse prilygstantis netgi 鈥濶e拧lov臈s鈥� 拧lovei.
Tur臈t懦 b奴ti atskiras 啪odis gedului ir sielvartui, kur寞 patiria t臈vai, laidodami savo vaikus, net jei praradimas yra taisykl臈, o ne i拧imtis. Ir prie拧 t膮 skausm膮, rodos, nieko n臈ra nepateisinamo, tuo pa膷iu ir nieko pasiteisinan膷io 鈥� viskas k膮 darai, k膮 bandai, ko griebiesi 鈥� viskas tik dar viena siena, 寞 kuri膮 atsitrenki 鈥� dar vieni vartai, kuriuos bandai atidaryti, dar viena tamsa, 寞 kuri膮 pasineri, dar vienas delnas aplink kakl膮, neleid啪iantis 寞kv臈pti. Ar delnas to, kuris i拧臈jo? Ar tiesiog tavo paties? Ir kur prasideda tas, kuris gim臈 i拧 tav臋s, o pasibaigi tu pats? Ir tos gelm臈s, 寞 kurias neri, kurios pripildo plau膷ius vandens 鈥� nekenti gylio, 寞 kur寞 pasineri, bet tuo pa膷iu nek臋stum ir seklumos. Nes tas, kuris i拧臈jo, buvo vertas tik pla膷iausi懦, giliausi懦 vanden懦. Ir likai juose kapanotis vienas. O gal niekada nebeb奴si vienas? Ar tas, kuris i拧eina, palieka dal寞 sav臋s? Ar pasiima dal寞 tav臋s? Kaip dalinasi sielos tokio skausmo akivaizdoje?
鈥濸eterburgo meistras鈥� 鈥� tariamai biografi拧ka, bet i拧 ties懦 nepaprastai autobiografi拧ka knyga. Prisidengdamas Fiodoro Dostojevskio vardu, veidu ir patirtimis, gausiai perleistomis per savo paties prizm臋, Coetzee tarsi 啪velgia i拧 u啪 拧ydo, kauk臈s, kalb臈damas apie savo paties skausm膮 鈥� anksti paslaptingomis aplinkyb臈mis mirus寞 savo paties s奴n懦, skausm膮 t臈vo, gedin膷io vaiko. Coetzee 寞suka ne tik 寞 skausmo, lydin膷io kiekviename sakinyje, bet ir 寞 literat奴rinio meistri拧kumo, detektyvinio veiksmo, savo ir kit懦 seksualumo, politikos, socialin臈s (ne)lygyb臈s, ekonomikos s奴kur寞. Sielvartas, u啪trenkiantis siel膮 寞 tamsiausi膮 kal臈jim膮, tuo pat metu atveria nepaprastai daug dur懦, pro kuri懦 rakto skylutes Coetzee leid啪ia 啪vilgtel臈ti 鈥� niekur neu啪sib奴damas per ilgai, neleisdamas nei nuobod啪iauti, nei pamir拧ti kod臈l 膷ia esame. Nes viskas galiausiai veda ten pat, visi keliai prasideda ir pasibaigia stovint akis 寞 ak寞 su did啪iausiu 寞manomu skausmu. Tokiu dideliu, kad net nesuvokiamu.
Vienintelis priekai拧tas, kur寞 turiu 拧iai nuostabiai para拧ytai, nepriekai拧tingai Reginos Chijenien臈s i拧verstai knygai 鈥� Coetzee pasirinkimas skaitytoj膮 vesti koja kojon su Fiodoru Dostojevskiu. Pastarasis, kuriamas talentingo k奴r臈jo, prie拧 skaitytoj膮 nesimato ai拧kiai 鈥� jis i拧kreiptas, kreiv懦 veidrod啪i懦 karalyst臈je. 漠 jo l奴pas dedami 啪od啪iai, 寞 jo siel膮 鈥� pasirinkimai, sprendimai, mintys, vietomis tokie siaubingi ir sunkiai pateisinami, jog priskirti juos tam, kuris nebegali apsiginti, atrodo neteisinga, apgaulinga. Ir nors akivaizdu, kad 寞 roman膮 nereik臈t懦 啪velgti kaip 寞 Dostojevskio biografij膮, vis d臈lto atrodo, kad 鈥濸eterburgo meistras鈥� b奴t懦 buv臋s toks pat meistri拧kas, jei Coetzee b奴t懦 kalb臈j臋s kieno nors kito l奴pomis. Vis d臈lto, atsiribojant nuo bet kokio knygos biografi拧kumo, tai vis tiek nuostabus, l臈to skanavimo k奴rinys, mano akyse prilygstantis netgi 鈥濶e拧lov臈s鈥� 拧lovei.
June 22, 2024
*倬丿乇丕賳 賵 倬爻乇丕賳: 丿卮賲賳丕賳貙 丿卮賲賳丕賳蹖 鬲丕 丿賲 賲乇诏
讴賵鬲爻蹖 丕夭 賲毓丿賵丿 賳賵蹖爻賳丿賴 賴丕蹖蹖 賴爻鬲 讴賴 丿賵 賲乇鬲亘賴 丕賮鬲禺丕乇 丿乇蹖丕賮鬲 噩丕蹖夭賴 賲賳 亘賵讴乇 乇賵 丿丕卮鬲賴 賵 賲噩賲賵毓賴 丕賮鬲禺丕乇丕鬲卮 亘爻蹖丕乇 倬乇亘丕乇 赖爻鬲. 鬲讴賲蹖賱 讴賳賳丿賴鈥屰� 丕蹖賳 賲噩賲賵毓賴 賴賲 賳賵亘賱 丕丿亘蹖丕鬲 爻丕賱 2003 亘賵丿.
丕蹖賳 乇賵夭賴丕 丕诏乇 亘胤賵乇 鬲氐丕丿賮蹖 亘蹖賳 賯賮爻賴 賴丕蹖 讴鬲丕亘賮乇賵卮蹖鈥屬囏� 亘诏乇丿蹖丿 卮丕蹖丿 亘丕 禺賵卮 卮丕賳爻蹖 賮賯胤 蹖讴 讴鬲丕亘 丕夭 讴賵鬲爻蹖 倬蹖丿丕 讴賳蹖丿. 讴賴 丕賵賳 賴賲 丕孬乇 賲毓乇賵賮 赖爻鬲.
丌孬丕乇 讴賵鬲爻蹖 丕诏乇 鬲乇噩賲賴 賵 趩丕倬 賴賲 卮丿賳丿 賲丿鬲賴丕爻鬲 讴賴 鬲噩丿蹖丿趩丕倬 賳卮丿賳丿.
丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 丕賵賱蹖賳 丕孬乇蹖 亘賵丿 讴賴 丕夭 讴賵鬲爻蹖 賲胤丕賱毓賴 讴乇丿賲 丕賲丕 丕诏乇 亘賯蹖賴鈥屰� 丌孬丕乇卮 賴賲 丿賵 爻賵賲 丕蹖賳 讴蹖賮蹖鬲 乇賵 丿丕卮鬲賴 亘丕卮賴 丕夭 丕睾賱亘 讴鬲丕亘 賴丕蹖蹖 讴賴 賲乇鬲亘 丿乇丨丕賱 賮乇賵卮 賴爻鬲賳丿 蹖讴 爻乇賵诏乇丿賳 亘丕賱丕鬲乇 赖爻鬲. 丕賲蹖丿賵丕乇賲 亘賴 夭賵丿蹖 爻乇丕睾 亘丕賯蹖 丌孬丕乇卮 亘乇賲. 丕賱亘鬲賴 丕诏乇 亘鬲賵賳賲 卮讴丕乇卮賵賳 讴賳賲!
禺賱丕氐賴鈥屰� 丿丕爻鬲丕賳
讴賵鬲爻蹖 丿乇 禺賱丕賱 賳诏丕乇卮 丕蹖賳 乇賲丕賳 亘丿賳亘丕賱 讴賳丕乇 丕賵賲丿賳 亘丕 爻賵诏 倬爻乇卮 亘賵丿 讴賴 亘胤賵乇 賲卮讴賵讴蹖 丕夭 丕乇鬲賮丕毓 爻賯賵胤 讴乇丿 賵 噩丕賳 爻倬乇丿. 賲賵囟賵毓 乇賵丕亘胤 亘蹖賳 倬丿乇 賵 倬爻乇 丕禺蹖乇丕 丿乇 亘蹖賳 賳賵蹖爻賳丿诏丕賳 賲丨亘賵亘蹖鬲 趩卮賲诏蹖乇蹖 倬蹖丿丕 讴乇丿賴 賵 丌孬丕乇 丿乇禺賵乇 賵 丕賱亘鬲賴 睾賲賳丕讴蹖 乇賵 乇睾賲 夭丿賴. 賲孬賱: 貙 賵 . 鬲賲丕賲 丕蹖賳 賲賵丕乇丿 亘丕 丿丕爻鬲丕賳蹖 丕夭 乇賵丕蹖鬲 倬爻乇 乇賵亘賴鈥屫辟� 賴爻鬲蹖賲 丕賲丕 乇賵丕蹖鬲 丕蹖賳 乇丕亘胤賴 丕夭 丿蹖丿诏丕賴 倬丿乇 亘乇丕蹖 賲賳 鬲噩乇亘賴 噩丿蹖丿蹖 賵 賲賳丨氐乇亘賮乇丿蹖 亘賵丿.
乇賵丕蹖鬲蹖 讴賴 乇賵蹖 亘禺卮蹖 丕夭 夭賳丿诏蹖 賮蹖賵丿賵乇 丿丕爻鬲丕蹖賮爻讴蹖 亘賳丕 卮丿賴. 丿丕爻鬲丕蹖賮爻讴蹖 讴賴 亘乇丕蹖 賮乇丕乇 丕夭 倬乇丿丕禺鬲 亘丿賴蹖 賴丕蹖 亘丕賱丕丌賵乇丿賴 亘賴 丌賱賲丕賳 賲鬲賵丕乇蹖 卮丿賴 亘丕 賲胤賱毓 卮丿賳 丕夭 禺亘乇 賳丕诏賴丕賳蹖 禺賵丿讴卮蹖 倬爻乇禺賵丕賳丿賴鈥屫ж�(倬丕賵賱)貙 亘丕 賴賵蹖鬲 噩毓賱蹖 亘賴 倬鬲乇夭亘賵乇诏 亘乇诏卮鬲賴 鬲丕 丕夭 讴賲 賵 讴蹖賮 丕蹖賳 丕鬲賮丕賯 賳丕诏賵丕乇 丕胤賱丕毓 讴爻亘 讴賳賴. 丿乇 賴賲蹖賳 乇丕爻鬲丕 禺亘乇 毓噩蹖亘蹖 丿乇 丨讴賲 賮乇賵丿 丌亘 爻乇丿蹖 亘乇 倬蹖讴乇 毓夭丕丿丕乇卮 賴爻鬲 賵 丕賮讴丕乇 賳丕賲賳馗賲卮 乇賵 亘蹖卮 丕夭 倬蹖卮 賲睾卮賵卮 賲蹖鈥屭┵嗁�: 丕乇鬲亘丕胤 亘蹖賳 倬爻乇卮 賵 诏乇賵賴蹖 丕夭 丌賳丕乇卮蹖爻鬲鈥屬囏� 賵 丿賵爻鬲蹖 賳夭丿蹖讴 亘丕 爻乇诏蹖 賳趩丕蹖賮 鬲卅賵乇蹖爻蹖賳 賵 乇卅蹖爻 噩賳亘卮 禺賱賯.
讴賳丿賵讴丕賵 丿乇 诏匕卮鬲賴鈥屰� 倬丕賵賱 丿爻鬲禺賵卮 鬲賮讴乇 賲乇鬲亘 賵 毓賲蹖賯 丿乇亘丕亘 倬丿乇 亘賵丿賳 賵 賵馗丕蹖賮卮 亘乇丕蹖 丿丕爻鬲丕蹖賮爻讴蹖 赖爻鬲. 丿賵 卮禺氐 丕夭 丿賵 賳爻賱 賲鬲賮丕賵鬲. 鬲賮丕賵鬲 賴丕蹖蹖 讴賴 賴乇讴丿賵賲 丕夭 丕賵賳賴丕 丿乇 丕賵賳 禺賵丿 乇賵 亘乇丨賯 賲蹖鈥屫堎嗁嗀�.
丿乇 亘禺卮 賴丕蹖 倬丕蹖丕賳蹖 賴賲 亘丕 蹖丕賮鬲賳 丿賮鬲乇趩賴 禺丕胤乇丕鬲 倬丕賵賱 賵 丕胤賱丕毓 丕夭 丿蹖丿诏丕賴 丨賯蹖賯蹖 丕賵賳 賳爻亘鬲 亘賴 禺賵丿卮 倬鬲讴 亘丕 囟乇亘賴鈥屫й� 爻賴賲诏蹖賳 亘乇 爻乇 倬丿乇 賮乇賵丿 賲蹖丕丿.
賳讴丕鬲 賲賴賲
- 賲乇诏貙 丿乇诏蹖乇蹖 亘丕 爻賵诏 賮乇夭賳丿貙 禺賵丿讴卮蹖貙 禺丿丕貙 丕賳賯賱丕亘 賵... 丕夭 丿蹖诏乇 賲賵囟賵毓丕鬲 卮丕禺氐 丿乇 丿丕爻鬲丕賳 赖爻鬲.
- 亘禺卮 賴丕蹖蹖 丕夭 丿丕爻鬲丕賳 亘乇 丕爻丕爻 賲賳丕亘毓 丨賯蹖賯蹖 賵 丿賯蹖賯 鬲丕乇蹖禺蹖 賴爻鬲 賵 亘禺卮 賯丕亘賱 鬲賵噩賴蹖 賴賲 爻丕禺鬲賴鈥屰� 匕賴賳 賳賵蹖爻賳丿賴.
- 丕睾賱亘 胤乇賮丿丕乇丕賳 丿丕爻鬲丕蹖賮爻讴蹖 亘丕 丿乇讴 賵賯丕蹖毓 讴鬲丕亘 卮蹖丕胤蹖賳 賲卮讴賱 丿丕乇賳丿 賵 丕賵賳 乇賵 丿乇 爻胤丨 亘丕賯蹖 丌孬丕乇卮 賳賲蹖鈥屫堎嗁嗀�. 丕蹖賳 讴鬲丕亘 鬲丕孬蹖乇 亘爻夭丕蹖蹖 丿乇 丿乇讴 賵賯丕蹖毓 卮蹖丕胤蹖賳 丿丕乇賴 賵 鬲乇噩蹖丨丕 亘賱丕賮丕氐賱賴 亘毓丿 丕夭 丕賵賳 讴鬲丕亘 爻乇丕睾卮 亘蹖丕蹖丿 讴賴 賱匕鬲 亘蹖卮鬲乇蹖 賴賲 亘亘乇蹖丿. 趩賵賳 丿乇 讴賳丕乇 鬲賲乇讴夭 乇賵蹖 乇賵丕亘胤 倬丿乇 賵 倬爻乇 亘禺卮 賴丕蹖蹖 賴賲 賲毓胤賵賮 亘賴 爻蹖丕爻鬲 卮丿賴 賵 亘丕 丕蹖賳 賲賵丕乇丿 卮讴賱 诏蹖乇蹖 丕蹖丿賴鈥屰� 賳诏丕乇卮 讴鬲丕亘 卮蹖丕胤蹖賳 乇賵 丿乇 匕賴賳 丿丕爻鬲丕蹖賮爻讴蹖 鬲乇爻蹖賲 讴乇丿賴. 丕诏乇 噩賳丕蹖鬲 賵 賲讴丕賮丕鬲 乇賵 賴賲 賲胤丕賱毓賴 讴乇丿賴 亘丕卮蹖丿 讴賴 趩賴 亘賴鬲乇. 趩賵賳 卮蹖丕胤蹖賳 賵 噩賳丕蹖鬲 賵 賲讴丕賮丕鬲 丕爻丕爻 賲卮丕亘賴蹖 丿丕乇賳丿. 丕賱亘鬲賴 讴賴 丕賱夭丕賲蹖 賴賲 亘賴 丌卮賳丕蹖蹖 亘丕 丌孬丕乇 丿丕爻鬲丕蹖賮爻讴蹖 賳蹖爻鬲 趩賵賳 丿乇 禺賱丕賱 诏賮鬲诏賵賴丕 亘賴 賳讴丕鬲 卮丕禺氐 丕蹖賳 丿賵讴鬲丕亘 丕卮丕乇賴 卮丿賴.
- 賳孬乇 讴鬲丕亘 賮賵賯鈥屫з勜关ж� 趩卮賲诏蹖乇 賵 丿乇禺卮丕賳 赖爻鬲. 讴賲 鬲乇讴鬲丕亘蹖 乇賵 丕蹖賳 丕賵丕禺乇 亘丕 丕蹖賳 讴蹖賮蹖鬲 丿乇 丕爻鬲賮丕丿賴 丕夭 讴賱賲丕鬲 賵 賯丿乇鬲 丿乇 乇賵丕蹖鬲 丿蹖丿賲.
- 丿乇 讴賳丕乇 賳孬乇 丕毓噩丕亘 丕賳诏蹖夭 讴賵鬲爻蹖 鬲乇噩賲賴 賴賲 亘爻蹖丕乇 丿乇禺卮丕賳 賵 倬丕讴蹖夭賴 丕爻鬲. 丿乇 賵丕賯毓 亘禺卮 賯丕亘賱 鬲賵噩賴蹖 丕夭 賱匕鬲 賲胤丕賱毓賴 賲乇賴賵賳 丕蹖賳 鬲乇噩賲賴 丕爻鬲. 丕賱亘鬲賴 讴賴 丕蹖賳 鬲乇噩賲賴 亘乇诏夭蹖丿賴鈥屰� 噩丕蹖夭賴鈥屰� 丕亘賵丕賱丨爻賳 賳噩賮蹖 丿乇 爻丕賱 98 卮丿 讴賴 噩丕蹖蹖 亘乇丕蹖 鬲毓噩亘 賳丿丕乇賴.
倬鈥屬�: 趩乇丕 賵蹖乇丕爻鬲丕乇 賲丨鬲乇賲 讴鬲丕亘 丿乇 賲賵禺乇賴 亘丕蹖丿 丿丕爻鬲丕賳 讴鬲丕亘 乇賳噩 賴丕蹖 賵乇鬲乇 乇賵 丕爻倬賵蹖賱 讴賳賴 丌禺賴責! 丌夭丕乇 丿丕乇蹖丿 賲诏賴責
* 丕夭 賲鬲賳 讴鬲丕亘
丿賵 鬲蹖乇 氐賮乇 爻賴
讴賵鬲爻蹖 丕夭 賲毓丿賵丿 賳賵蹖爻賳丿賴 賴丕蹖蹖 賴爻鬲 讴賴 丿賵 賲乇鬲亘賴 丕賮鬲禺丕乇 丿乇蹖丕賮鬲 噩丕蹖夭賴 賲賳 亘賵讴乇 乇賵 丿丕卮鬲賴 賵 賲噩賲賵毓賴 丕賮鬲禺丕乇丕鬲卮 亘爻蹖丕乇 倬乇亘丕乇 赖爻鬲. 鬲讴賲蹖賱 讴賳賳丿賴鈥屰� 丕蹖賳 賲噩賲賵毓賴 賴賲 賳賵亘賱 丕丿亘蹖丕鬲 爻丕賱 2003 亘賵丿.
丕蹖賳 乇賵夭賴丕 丕诏乇 亘胤賵乇 鬲氐丕丿賮蹖 亘蹖賳 賯賮爻賴 賴丕蹖 讴鬲丕亘賮乇賵卮蹖鈥屬囏� 亘诏乇丿蹖丿 卮丕蹖丿 亘丕 禺賵卮 卮丕賳爻蹖 賮賯胤 蹖讴 讴鬲丕亘 丕夭 讴賵鬲爻蹖 倬蹖丿丕 讴賳蹖丿. 讴賴 丕賵賳 賴賲 丕孬乇 賲毓乇賵賮 赖爻鬲.
丌孬丕乇 讴賵鬲爻蹖 丕诏乇 鬲乇噩賲賴 賵 趩丕倬 賴賲 卮丿賳丿 賲丿鬲賴丕爻鬲 讴賴 鬲噩丿蹖丿趩丕倬 賳卮丿賳丿.
丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 丕賵賱蹖賳 丕孬乇蹖 亘賵丿 讴賴 丕夭 讴賵鬲爻蹖 賲胤丕賱毓賴 讴乇丿賲 丕賲丕 丕诏乇 亘賯蹖賴鈥屰� 丌孬丕乇卮 賴賲 丿賵 爻賵賲 丕蹖賳 讴蹖賮蹖鬲 乇賵 丿丕卮鬲賴 亘丕卮賴 丕夭 丕睾賱亘 讴鬲丕亘 賴丕蹖蹖 讴賴 賲乇鬲亘 丿乇丨丕賱 賮乇賵卮 賴爻鬲賳丿 蹖讴 爻乇賵诏乇丿賳 亘丕賱丕鬲乇 赖爻鬲. 丕賲蹖丿賵丕乇賲 亘賴 夭賵丿蹖 爻乇丕睾 亘丕賯蹖 丌孬丕乇卮 亘乇賲. 丕賱亘鬲賴 丕诏乇 亘鬲賵賳賲 卮讴丕乇卮賵賳 讴賳賲!
禺賱丕氐賴鈥屰� 丿丕爻鬲丕賳
讴賵鬲爻蹖 丿乇 禺賱丕賱 賳诏丕乇卮 丕蹖賳 乇賲丕賳 亘丿賳亘丕賱 讴賳丕乇 丕賵賲丿賳 亘丕 爻賵诏 倬爻乇卮 亘賵丿 讴賴 亘胤賵乇 賲卮讴賵讴蹖 丕夭 丕乇鬲賮丕毓 爻賯賵胤 讴乇丿 賵 噩丕賳 爻倬乇丿. 賲賵囟賵毓 乇賵丕亘胤 亘蹖賳 倬丿乇 賵 倬爻乇 丕禺蹖乇丕 丿乇 亘蹖賳 賳賵蹖爻賳丿诏丕賳 賲丨亘賵亘蹖鬲 趩卮賲诏蹖乇蹖 倬蹖丿丕 讴乇丿賴 賵 丌孬丕乇 丿乇禺賵乇 賵 丕賱亘鬲賴 睾賲賳丕讴蹖 乇賵 乇睾賲 夭丿賴. 賲孬賱: 貙 賵 . 鬲賲丕賲 丕蹖賳 賲賵丕乇丿 亘丕 丿丕爻鬲丕賳蹖 丕夭 乇賵丕蹖鬲 倬爻乇 乇賵亘賴鈥屫辟� 賴爻鬲蹖賲 丕賲丕 乇賵丕蹖鬲 丕蹖賳 乇丕亘胤賴 丕夭 丿蹖丿诏丕賴 倬丿乇 亘乇丕蹖 賲賳 鬲噩乇亘賴 噩丿蹖丿蹖 賵 賲賳丨氐乇亘賮乇丿蹖 亘賵丿.
乇賵丕蹖鬲蹖 讴賴 乇賵蹖 亘禺卮蹖 丕夭 夭賳丿诏蹖 賮蹖賵丿賵乇 丿丕爻鬲丕蹖賮爻讴蹖 亘賳丕 卮丿賴. 丿丕爻鬲丕蹖賮爻讴蹖 讴賴 亘乇丕蹖 賮乇丕乇 丕夭 倬乇丿丕禺鬲 亘丿賴蹖 賴丕蹖 亘丕賱丕丌賵乇丿賴 亘賴 丌賱賲丕賳 賲鬲賵丕乇蹖 卮丿賴 亘丕 賲胤賱毓 卮丿賳 丕夭 禺亘乇 賳丕诏賴丕賳蹖 禺賵丿讴卮蹖 倬爻乇禺賵丕賳丿賴鈥屫ж�(倬丕賵賱)貙 亘丕 賴賵蹖鬲 噩毓賱蹖 亘賴 倬鬲乇夭亘賵乇诏 亘乇诏卮鬲賴 鬲丕 丕夭 讴賲 賵 讴蹖賮 丕蹖賳 丕鬲賮丕賯 賳丕诏賵丕乇 丕胤賱丕毓 讴爻亘 讴賳賴. 丿乇 賴賲蹖賳 乇丕爻鬲丕 禺亘乇 毓噩蹖亘蹖 丿乇 丨讴賲 賮乇賵丿 丌亘 爻乇丿蹖 亘乇 倬蹖讴乇 毓夭丕丿丕乇卮 賴爻鬲 賵 丕賮讴丕乇 賳丕賲賳馗賲卮 乇賵 亘蹖卮 丕夭 倬蹖卮 賲睾卮賵卮 賲蹖鈥屭┵嗁�: 丕乇鬲亘丕胤 亘蹖賳 倬爻乇卮 賵 诏乇賵賴蹖 丕夭 丌賳丕乇卮蹖爻鬲鈥屬囏� 賵 丿賵爻鬲蹖 賳夭丿蹖讴 亘丕 爻乇诏蹖 賳趩丕蹖賮 鬲卅賵乇蹖爻蹖賳 賵 乇卅蹖爻 噩賳亘卮 禺賱賯.
讴賳丿賵讴丕賵 丿乇 诏匕卮鬲賴鈥屰� 倬丕賵賱 丿爻鬲禺賵卮 鬲賮讴乇 賲乇鬲亘 賵 毓賲蹖賯 丿乇亘丕亘 倬丿乇 亘賵丿賳 賵 賵馗丕蹖賮卮 亘乇丕蹖 丿丕爻鬲丕蹖賮爻讴蹖 赖爻鬲. 丿賵 卮禺氐 丕夭 丿賵 賳爻賱 賲鬲賮丕賵鬲. 鬲賮丕賵鬲 賴丕蹖蹖 讴賴 賴乇讴丿賵賲 丕夭 丕賵賳賴丕 丿乇 丕賵賳 禺賵丿 乇賵 亘乇丨賯 賲蹖鈥屫堎嗁嗀�.
丿乇 亘禺卮 賴丕蹖 倬丕蹖丕賳蹖 賴賲 亘丕 蹖丕賮鬲賳 丿賮鬲乇趩賴 禺丕胤乇丕鬲 倬丕賵賱 賵 丕胤賱丕毓 丕夭 丿蹖丿诏丕賴 丨賯蹖賯蹖 丕賵賳 賳爻亘鬲 亘賴 禺賵丿卮 倬鬲讴 亘丕 囟乇亘賴鈥屫й� 爻賴賲诏蹖賳 亘乇 爻乇 倬丿乇 賮乇賵丿 賲蹖丕丿.
賳讴丕鬲 賲賴賲
- 賲乇诏貙 丿乇诏蹖乇蹖 亘丕 爻賵诏 賮乇夭賳丿貙 禺賵丿讴卮蹖貙 禺丿丕貙 丕賳賯賱丕亘 賵... 丕夭 丿蹖诏乇 賲賵囟賵毓丕鬲 卮丕禺氐 丿乇 丿丕爻鬲丕賳 赖爻鬲.
- 亘禺卮 賴丕蹖蹖 丕夭 丿丕爻鬲丕賳 亘乇 丕爻丕爻 賲賳丕亘毓 丨賯蹖賯蹖 賵 丿賯蹖賯 鬲丕乇蹖禺蹖 賴爻鬲 賵 亘禺卮 賯丕亘賱 鬲賵噩賴蹖 賴賲 爻丕禺鬲賴鈥屰� 匕賴賳 賳賵蹖爻賳丿賴.
- 丕睾賱亘 胤乇賮丿丕乇丕賳 丿丕爻鬲丕蹖賮爻讴蹖 亘丕 丿乇讴 賵賯丕蹖毓 讴鬲丕亘 卮蹖丕胤蹖賳 賲卮讴賱 丿丕乇賳丿 賵 丕賵賳 乇賵 丿乇 爻胤丨 亘丕賯蹖 丌孬丕乇卮 賳賲蹖鈥屫堎嗁嗀�. 丕蹖賳 讴鬲丕亘 鬲丕孬蹖乇 亘爻夭丕蹖蹖 丿乇 丿乇讴 賵賯丕蹖毓 卮蹖丕胤蹖賳 丿丕乇賴 賵 鬲乇噩蹖丨丕 亘賱丕賮丕氐賱賴 亘毓丿 丕夭 丕賵賳 讴鬲丕亘 爻乇丕睾卮 亘蹖丕蹖丿 讴賴 賱匕鬲 亘蹖卮鬲乇蹖 賴賲 亘亘乇蹖丿. 趩賵賳 丿乇 讴賳丕乇 鬲賲乇讴夭 乇賵蹖 乇賵丕亘胤 倬丿乇 賵 倬爻乇 亘禺卮 賴丕蹖蹖 賴賲 賲毓胤賵賮 亘賴 爻蹖丕爻鬲 卮丿賴 賵 亘丕 丕蹖賳 賲賵丕乇丿 卮讴賱 诏蹖乇蹖 丕蹖丿賴鈥屰� 賳诏丕乇卮 讴鬲丕亘 卮蹖丕胤蹖賳 乇賵 丿乇 匕賴賳 丿丕爻鬲丕蹖賮爻讴蹖 鬲乇爻蹖賲 讴乇丿賴. 丕诏乇 噩賳丕蹖鬲 賵 賲讴丕賮丕鬲 乇賵 賴賲 賲胤丕賱毓賴 讴乇丿賴 亘丕卮蹖丿 讴賴 趩賴 亘賴鬲乇. 趩賵賳 卮蹖丕胤蹖賳 賵 噩賳丕蹖鬲 賵 賲讴丕賮丕鬲 丕爻丕爻 賲卮丕亘賴蹖 丿丕乇賳丿. 丕賱亘鬲賴 讴賴 丕賱夭丕賲蹖 賴賲 亘賴 丌卮賳丕蹖蹖 亘丕 丌孬丕乇 丿丕爻鬲丕蹖賮爻讴蹖 賳蹖爻鬲 趩賵賳 丿乇 禺賱丕賱 诏賮鬲诏賵賴丕 亘賴 賳讴丕鬲 卮丕禺氐 丕蹖賳 丿賵讴鬲丕亘 丕卮丕乇賴 卮丿賴.
- 賳孬乇 讴鬲丕亘 賮賵賯鈥屫з勜关ж� 趩卮賲诏蹖乇 賵 丿乇禺卮丕賳 赖爻鬲. 讴賲 鬲乇讴鬲丕亘蹖 乇賵 丕蹖賳 丕賵丕禺乇 亘丕 丕蹖賳 讴蹖賮蹖鬲 丿乇 丕爻鬲賮丕丿賴 丕夭 讴賱賲丕鬲 賵 賯丿乇鬲 丿乇 乇賵丕蹖鬲 丿蹖丿賲.
- 丿乇 讴賳丕乇 賳孬乇 丕毓噩丕亘 丕賳诏蹖夭 讴賵鬲爻蹖 鬲乇噩賲賴 賴賲 亘爻蹖丕乇 丿乇禺卮丕賳 賵 倬丕讴蹖夭賴 丕爻鬲. 丿乇 賵丕賯毓 亘禺卮 賯丕亘賱 鬲賵噩賴蹖 丕夭 賱匕鬲 賲胤丕賱毓賴 賲乇賴賵賳 丕蹖賳 鬲乇噩賲賴 丕爻鬲. 丕賱亘鬲賴 讴賴 丕蹖賳 鬲乇噩賲賴 亘乇诏夭蹖丿賴鈥屰� 噩丕蹖夭賴鈥屰� 丕亘賵丕賱丨爻賳 賳噩賮蹖 丿乇 爻丕賱 98 卮丿 讴賴 噩丕蹖蹖 亘乇丕蹖 鬲毓噩亘 賳丿丕乇賴.
倬鈥屬�: 趩乇丕 賵蹖乇丕爻鬲丕乇 賲丨鬲乇賲 讴鬲丕亘 丿乇 賲賵禺乇賴 亘丕蹖丿 丿丕爻鬲丕賳 讴鬲丕亘 乇賳噩 賴丕蹖 賵乇鬲乇 乇賵 丕爻倬賵蹖賱 讴賳賴 丌禺賴責! 丌夭丕乇 丿丕乇蹖丿 賲诏賴責
* 丕夭 賲鬲賳 讴鬲丕亘
丿賵 鬲蹖乇 氐賮乇 爻賴
February 28, 2021
by the contemporary South African author is a work of fiction. With its central protagonist being the Russian author (1821-1881), it becomes a blend of fact and fiction.
Fyodor Dostoyevsky, living in Dresden with his second wife and young daughter, travels to St. Petersburg to retrieve the belongings of his recently deceased stepson, Pavel. In Coetzee鈥檚 story the stepson dies at the age of twenty-one. The cause of Pavel鈥檚 death is clothed in uncertainty. Some claim the death was suicide. There is also a possibility of murder. Dostoyevsky stays in his stepson鈥檚 room, coming to know the landlady Anna Sergeyevna Kolenkina, a widow, and her young daughter, Matryona, very well. Not merely as close friends, Dostoyevsky and Anna become lovers. A police investigation is in process. Dostoyevsky soon finds himself to be under police surveillance. Pavel had been involved with Sergey Nechayev, a revolutionary, agitator and terrorist, a leading figure of the Russian nihilist movement of the 1860s. Dostoyevsky journeys in October 1869. He works through his own emotions toward his dead son and the cause of his death, completely unaware of the fact that he has been brought to the city for a purpose.
While reading, one is compelled to seek out what is fact and what is fiction. Dostoyevsky did live in Dresden, from 1869 to 1871. He did have a stepson, but he died after Dostoyevsky鈥檚 own death. Coetzee accurately portrays the stepson as a troubled young man, and as told in the story, Dostoyevsky did have two wives, did have epilepsy, did have a weakness for gambling! Sergey Nechayev is a real person and his nihilist conspirators . I enjoyed plucking out true facts from the story鈥檚 fictional elements.
The author had recently lost his own son to death when he wrote this novel. In 1989, Coetzee鈥檚 son died in an accident at the age of twenty-three. The author, through this book, addresses father /son relationships and issues that could have been troubling him at the time.
An author鈥檚 distortion of fact for the purpose of creating an imaginative, compelling, thought provoking work of fiction is another theme. The process of writing and the legitimacy of altering facts is explored.
From the very first page I was drawn in. The prose style is right up my alley. However, the further one goes, the more dense and complicated the story becomes. The plotline is at times difficult to follow. The overall message is ambiguous. For these reasons, my rating landed at three stars.
Andrew Byron's narration of the audiobook is very good. I could hear every word. The speed need not be adjusted. Four stars for the narration.
The book weaves together elements of Dostoyevsky鈥檚 and the author鈥檚 own life with the background setting of Russia in the 1860s.
****
* 5 stars
* 4 stars
* 4 stars
* 3 stars
* 3 stars
* 3 stars
Fyodor Dostoyevsky, living in Dresden with his second wife and young daughter, travels to St. Petersburg to retrieve the belongings of his recently deceased stepson, Pavel. In Coetzee鈥檚 story the stepson dies at the age of twenty-one. The cause of Pavel鈥檚 death is clothed in uncertainty. Some claim the death was suicide. There is also a possibility of murder. Dostoyevsky stays in his stepson鈥檚 room, coming to know the landlady Anna Sergeyevna Kolenkina, a widow, and her young daughter, Matryona, very well. Not merely as close friends, Dostoyevsky and Anna become lovers. A police investigation is in process. Dostoyevsky soon finds himself to be under police surveillance. Pavel had been involved with Sergey Nechayev, a revolutionary, agitator and terrorist, a leading figure of the Russian nihilist movement of the 1860s. Dostoyevsky journeys in October 1869. He works through his own emotions toward his dead son and the cause of his death, completely unaware of the fact that he has been brought to the city for a purpose.
While reading, one is compelled to seek out what is fact and what is fiction. Dostoyevsky did live in Dresden, from 1869 to 1871. He did have a stepson, but he died after Dostoyevsky鈥檚 own death. Coetzee accurately portrays the stepson as a troubled young man, and as told in the story, Dostoyevsky did have two wives, did have epilepsy, did have a weakness for gambling! Sergey Nechayev is a real person and his nihilist conspirators . I enjoyed plucking out true facts from the story鈥檚 fictional elements.
The author had recently lost his own son to death when he wrote this novel. In 1989, Coetzee鈥檚 son died in an accident at the age of twenty-three. The author, through this book, addresses father /son relationships and issues that could have been troubling him at the time.
An author鈥檚 distortion of fact for the purpose of creating an imaginative, compelling, thought provoking work of fiction is another theme. The process of writing and the legitimacy of altering facts is explored.
From the very first page I was drawn in. The prose style is right up my alley. However, the further one goes, the more dense and complicated the story becomes. The plotline is at times difficult to follow. The overall message is ambiguous. For these reasons, my rating landed at three stars.
Andrew Byron's narration of the audiobook is very good. I could hear every word. The speed need not be adjusted. Four stars for the narration.
The book weaves together elements of Dostoyevsky鈥檚 and the author鈥檚 own life with the background setting of Russia in the 1860s.
****
* 5 stars
* 4 stars
* 4 stars
* 3 stars
* 3 stars
* 3 stars
May 21, 2025
丿賵爻鬲丕賳 賲蹖禺賵丕蹖賲 乇丕噩毓 亘賴 芦丕爻鬲丕丿 倬鬲乇夭亘賵乇诏禄 丕夭 芦噩蹖.丕賲.讴賵鬲爻蹖禄 氐丨亘鬲 讴賳蹖賲.
丕蹖丿賴 丿丕爻鬲丕賳 亘乇 丕爻丕爻 蹖賴 賮乇賲 丨賯蹖賯蹖 丕賲丕 丿乇 賲丕蹖賴 賴丕蹖 鬲禺蹖賱蹖 賳賵卮鬲賴 卮丿賴.丿丕爻鬲丕賳 乇丕噩毓 亘賴 毓丕賱蹖噩賳丕亘 芦丿丕爻鬲丕蹖賮爻讴蹖禄 賴爻鬲 讴賴 亘賴 鬲丕夭诏蹖 倬爻乇禺賵丕賳丿賴鈥屫� 禺賵丿讴卮蹖 讴乇丿賴 賵 賴賲蹖賳 賲爻卅賱賴 丕賵賳 乇賵 亘賴 倬鬲乇夭亘賵乇诏 賲蹖讴卮賵賳賴 鬲丕 亘賱讴賴 爻亘亘 丕蹖賳 禺賵丿讴卮蹖 乇賵 亘賮賴賲賴.
禺亘
胤乇丨 丿丕爻鬲丕賳 禺賵亘賴 貙 丕賲丕 丕噩乇丕 賮賯胤 鬲丕 賳氐賮賴 丕賵賱 讴鬲丕亘 禺賵亘賴.亘賴 胤賵乇蹖 讴賴 丕夭 賳氐賮賴 丿賵賲 亘賴 亘毓丿 丕孬乇 賲胤賱賯丕 丿趩丕乇 囟毓賮 賴丕蹖蹖 賲鬲賵丕賱蹖 賲蹖卮賴.
囟毓賮 丕賵賱 丕蹖賳賴 讴賴 丿丕爻鬲丕賳 丿睾丿睾賴 倬蹖丿丕 賳讴乇丿賴 亘丕 賵噩賵丿 胤蹖 卮丿賳 賳氐賮 丨噩賲 乇賲丕賳.
丕蹖賳 亘丕毓孬 賲蹖卮賴 賲賳 賵 卮賲丕 賲禺丕胤亘 爻賵丕賱 丕蹖噩丕丿 亘卮賴 讴賴 亘丕卮賴 丿丕爻鬲丕賳 蹖賴 賲毓賲丕蹖蹖 賵 丿乇 賵氐賮 爻賵诏 賴爻鬲 丕賲丕 賴丿賮 丿丕爻鬲丕賳 趩蹖賴責
囟毓賮 丿賵賲 丿乇 卮禺氐蹖鬲 倬乇丿丕夭蹖 賴丕爻鬲. 卮禺氐蹖鬲 賴丕蹖蹖 讴賴 丿乇 丕賵丕蹖賱 丿丕爻鬲丕賳 爻丕禺鬲賴 賲蹖卮賳 賵 禺賵亘 亘賴卮賵賳 倬乇丿丕禺鬲賴 賲蹖卮賴 貙 讴丕賲賱丕 爻賯賵胤 賲蹖讴賳賳. 芦丿丕爻鬲丕蹖賮爻讴蹖禄 鬲丕 賳氐賮賴 讴鬲丕亘 芦丿丕爻鬲丕蹖賮爻讴蹖禄 賴爻鬲 賵 亘毓丿 亘賴 讴爻蹖 讴賴 賲丕 丕氐賱丕 賳賲蹖卮賳丕爻蹖賲卮 鬲亘丿蹖賱 賲蹖卮賴. 賲乇丿蹖 讴賴 鬲賲丕賲丕 丿賳亘丕賱 卮賴賵鬲賴貙 賲丿丕賲 丿趩丕乇 鬲賵賴賲 賲蹖卮賴 賵 亘賴 丿賳亘丕賱 爻讴爻賴.
囟毓賮 爻賵賲 丿乇 噩乇蹖丕賳 丿丕爻鬲丕賳蹖賴.賳賵蹖爻賳丿賴 亘賴 鬲賵丕賳丕蹖蹖 賴丕蹖 禺賵丿卮 丕卮乇丕賮 賳丿丕乇賴 讴賴 丌蹖丕 丕诏乇 乇賵蹖 賮賱丕賳 賲賵囟賵毓 丿爻鬲 诏匕丕卮鬲 賲蹖鬲賵賳賴 丕夭 倬爻卮 亘乇 亘蹖丕丿 蹖丕 賳賴責 賲蹖乇賴 爻乇丕睾 爻賵诏 賮乇夭賳丿 賵 禺賵亘 丿乇 賲蹖丕乇賴 丕賲丕 賲蹖乇賴 爻乇丕睾 爻蹖丕爻鬲 貙 賮丕噩毓賴 丿乇 賲蹖丕乇賴 貙 賲蹖乇賴 爻乇丕睾 鬲賵賴賲 丿蹖丿賳 貙 賮丕噩毓賴 丿乇賲蹖丕乇賴.
囟毓賮 丌禺乇 丿乇 倬丕蹖蹖賳 亘賵丿賳 爻胤丨 禺賱丕賯蹖鬲 賳賵蹖爻賳丿賴鈥屫池�. 賳賵蹖爻賳丿賴 亘毓丿 丕夭 丨丿賵丿 150氐賮丨賴 貙 賲卮禺氐 賲蹖卮賴 讴賴 鬲賳賴丕 賴丿賮卮 丕夭 賳诏丕乇卮 丕蹖賳 丕孬乇 貙 鬲禺賱蹖賴 賴蹖噩丕賳 賳丕卮蹖 丕夭 爻賵诏 賮乇夭賳丿賴.亘賴 賴賲蹖賳 丿賱蹖賱 賳賲蹖鬲賵賳賴 丕夭 噩丕蹖蹖 亘賴 亘毓丿 乇賵 噩匕丕亘 丿乇亘蹖丕乇賴. 賵 丨鬲蹖 賳賲蹖鬲賵賳賴 蹖賴 丕孬乇 丌亘乇賵賲賳丿 爻乇诏乇賲 讴賳賳丿賴 亘爻丕夭賴. 亘賴 丨丿蹖 丕孬乇 讴賳丿 賲蹖卮賴 讴賴 丕诏乇 卮賲丕 (賲孬賱 賲賳) 丕夭 氐賮丨賴 150亘賴 氐賮丨賴 240 讴丕鬲 亘夭賳蹖賳 丕氐賱丕 丨爻 诏賲 卮丿賳 丿乇 丿丕爻鬲丕賳 乇賵 賳丿丕乇蹖丿.
賲鬲丕爻賮丕賳賴 讴鬲丕亘蹖 讴賴 賲蹖鬲賵賳爻鬲 (賯丕亘賱蹖鬲卮 乇賵 丿丕卮鬲) 讴賴 亘賴 蹖讴蹖 丕夭 讴鬲丕亘 賴丕蹖 賲賵乇丿 毓賱丕賯賴 賴賲賲賵賳 鬲亘丿蹖賱 亘卮賴 乇賵 貙 亘賴 蹖賴 丕孬乇 囟毓蹖賮 賵 睾蹖乇賯丕亘賱 丿乇讴 鬲亘丿蹖賱 賲蹖讴賳賴. 賵 亘丕毓孬 賲蹖卮賴 賲賳 禺賵丕賳賳丿賴鈥屫й� 讴賴 亘丕 賲胤丕賱毓賴 丌孬丕乇 芦丿丕爻鬲丕蹖賮爻讴蹖禄 毓夭蹖夭 貙 爻胤丨 鬲賵賯毓賲 亘丕賱丕 乇賮鬲賴 貙 讴鬲丕亘 乇賵 亘毓丿 丕夭 氐賮丨賴 150 讴丕鬲 亘夭賳賲 賵 亘乇賲 爻乇丕睾 亘禺卮 丌禺乇 賵 丿丕爻鬲丕賳 乇賵 亘賴 倬丕蹖丕賳 亘亘乇賲.
丕蹖丿賴 丿丕爻鬲丕賳 亘乇 丕爻丕爻 蹖賴 賮乇賲 丨賯蹖賯蹖 丕賲丕 丿乇 賲丕蹖賴 賴丕蹖 鬲禺蹖賱蹖 賳賵卮鬲賴 卮丿賴.丿丕爻鬲丕賳 乇丕噩毓 亘賴 毓丕賱蹖噩賳丕亘 芦丿丕爻鬲丕蹖賮爻讴蹖禄 賴爻鬲 讴賴 亘賴 鬲丕夭诏蹖 倬爻乇禺賵丕賳丿賴鈥屫� 禺賵丿讴卮蹖 讴乇丿賴 賵 賴賲蹖賳 賲爻卅賱賴 丕賵賳 乇賵 亘賴 倬鬲乇夭亘賵乇诏 賲蹖讴卮賵賳賴 鬲丕 亘賱讴賴 爻亘亘 丕蹖賳 禺賵丿讴卮蹖 乇賵 亘賮賴賲賴.
禺亘
胤乇丨 丿丕爻鬲丕賳 禺賵亘賴 貙 丕賲丕 丕噩乇丕 賮賯胤 鬲丕 賳氐賮賴 丕賵賱 讴鬲丕亘 禺賵亘賴.亘賴 胤賵乇蹖 讴賴 丕夭 賳氐賮賴 丿賵賲 亘賴 亘毓丿 丕孬乇 賲胤賱賯丕 丿趩丕乇 囟毓賮 賴丕蹖蹖 賲鬲賵丕賱蹖 賲蹖卮賴.
囟毓賮 丕賵賱 丕蹖賳賴 讴賴 丿丕爻鬲丕賳 丿睾丿睾賴 倬蹖丿丕 賳讴乇丿賴 亘丕 賵噩賵丿 胤蹖 卮丿賳 賳氐賮 丨噩賲 乇賲丕賳.
丕蹖賳 亘丕毓孬 賲蹖卮賴 賲賳 賵 卮賲丕 賲禺丕胤亘 爻賵丕賱 丕蹖噩丕丿 亘卮賴 讴賴 亘丕卮賴 丿丕爻鬲丕賳 蹖賴 賲毓賲丕蹖蹖 賵 丿乇 賵氐賮 爻賵诏 賴爻鬲 丕賲丕 賴丿賮 丿丕爻鬲丕賳 趩蹖賴責
囟毓賮 丿賵賲 丿乇 卮禺氐蹖鬲 倬乇丿丕夭蹖 賴丕爻鬲. 卮禺氐蹖鬲 賴丕蹖蹖 讴賴 丿乇 丕賵丕蹖賱 丿丕爻鬲丕賳 爻丕禺鬲賴 賲蹖卮賳 賵 禺賵亘 亘賴卮賵賳 倬乇丿丕禺鬲賴 賲蹖卮賴 貙 讴丕賲賱丕 爻賯賵胤 賲蹖讴賳賳. 芦丿丕爻鬲丕蹖賮爻讴蹖禄 鬲丕 賳氐賮賴 讴鬲丕亘 芦丿丕爻鬲丕蹖賮爻讴蹖禄 賴爻鬲 賵 亘毓丿 亘賴 讴爻蹖 讴賴 賲丕 丕氐賱丕 賳賲蹖卮賳丕爻蹖賲卮 鬲亘丿蹖賱 賲蹖卮賴. 賲乇丿蹖 讴賴 鬲賲丕賲丕 丿賳亘丕賱 卮賴賵鬲賴貙 賲丿丕賲 丿趩丕乇 鬲賵賴賲 賲蹖卮賴 賵 亘賴 丿賳亘丕賱 爻讴爻賴.
囟毓賮 爻賵賲 丿乇 噩乇蹖丕賳 丿丕爻鬲丕賳蹖賴.賳賵蹖爻賳丿賴 亘賴 鬲賵丕賳丕蹖蹖 賴丕蹖 禺賵丿卮 丕卮乇丕賮 賳丿丕乇賴 讴賴 丌蹖丕 丕诏乇 乇賵蹖 賮賱丕賳 賲賵囟賵毓 丿爻鬲 诏匕丕卮鬲 賲蹖鬲賵賳賴 丕夭 倬爻卮 亘乇 亘蹖丕丿 蹖丕 賳賴責 賲蹖乇賴 爻乇丕睾 爻賵诏 賮乇夭賳丿 賵 禺賵亘 丿乇 賲蹖丕乇賴 丕賲丕 賲蹖乇賴 爻乇丕睾 爻蹖丕爻鬲 貙 賮丕噩毓賴 丿乇 賲蹖丕乇賴 貙 賲蹖乇賴 爻乇丕睾 鬲賵賴賲 丿蹖丿賳 貙 賮丕噩毓賴 丿乇賲蹖丕乇賴.
囟毓賮 丌禺乇 丿乇 倬丕蹖蹖賳 亘賵丿賳 爻胤丨 禺賱丕賯蹖鬲 賳賵蹖爻賳丿賴鈥屫池�. 賳賵蹖爻賳丿賴 亘毓丿 丕夭 丨丿賵丿 150氐賮丨賴 貙 賲卮禺氐 賲蹖卮賴 讴賴 鬲賳賴丕 賴丿賮卮 丕夭 賳诏丕乇卮 丕蹖賳 丕孬乇 貙 鬲禺賱蹖賴 賴蹖噩丕賳 賳丕卮蹖 丕夭 爻賵诏 賮乇夭賳丿賴.亘賴 賴賲蹖賳 丿賱蹖賱 賳賲蹖鬲賵賳賴 丕夭 噩丕蹖蹖 亘賴 亘毓丿 乇賵 噩匕丕亘 丿乇亘蹖丕乇賴. 賵 丨鬲蹖 賳賲蹖鬲賵賳賴 蹖賴 丕孬乇 丌亘乇賵賲賳丿 爻乇诏乇賲 讴賳賳丿賴 亘爻丕夭賴. 亘賴 丨丿蹖 丕孬乇 讴賳丿 賲蹖卮賴 讴賴 丕诏乇 卮賲丕 (賲孬賱 賲賳) 丕夭 氐賮丨賴 150亘賴 氐賮丨賴 240 讴丕鬲 亘夭賳蹖賳 丕氐賱丕 丨爻 诏賲 卮丿賳 丿乇 丿丕爻鬲丕賳 乇賵 賳丿丕乇蹖丿.
賲鬲丕爻賮丕賳賴 讴鬲丕亘蹖 讴賴 賲蹖鬲賵賳爻鬲 (賯丕亘賱蹖鬲卮 乇賵 丿丕卮鬲) 讴賴 亘賴 蹖讴蹖 丕夭 讴鬲丕亘 賴丕蹖 賲賵乇丿 毓賱丕賯賴 賴賲賲賵賳 鬲亘丿蹖賱 亘卮賴 乇賵 貙 亘賴 蹖賴 丕孬乇 囟毓蹖賮 賵 睾蹖乇賯丕亘賱 丿乇讴 鬲亘丿蹖賱 賲蹖讴賳賴. 賵 亘丕毓孬 賲蹖卮賴 賲賳 禺賵丕賳賳丿賴鈥屫й� 讴賴 亘丕 賲胤丕賱毓賴 丌孬丕乇 芦丿丕爻鬲丕蹖賮爻讴蹖禄 毓夭蹖夭 貙 爻胤丨 鬲賵賯毓賲 亘丕賱丕 乇賮鬲賴 貙 讴鬲丕亘 乇賵 亘毓丿 丕夭 氐賮丨賴 150 讴丕鬲 亘夭賳賲 賵 亘乇賲 爻乇丕睾 亘禺卮 丌禺乇 賵 丿丕爻鬲丕賳 乇賵 亘賴 倬丕蹖丕賳 亘亘乇賲.
October 16, 2017
In questo romanzo, Dostoevskij fa ritorno a San Pietroburgo da Dresda, dove 猫 fuggito dai creditori. Il suo precipitoso e clandestino ritorno 猫 dovuto alla morte misteriosa del figliastro Pavel, e molto ruota intorno a quel figlio amato anche se non generato da lui, un figlio forse non conosciuto quanto credeva, e ormai perduto.
Dostoesvskij aveva davvero un figliastro di nome Pavel, ma questi non mor矛; gli sopravvisse, anzi. Il figlio di Coetzee per貌 mor矛, e io mi domando quanto di questo lutto, di questo dolore, l鈥檃utore abbia riversato nelle pagine del libro; in certi momenti mi 猫 sembrato tanto intimo il suo mettersi a nudo, da mettermi un po鈥� a disagio, come se stessi invadendo l鈥檌nteriorit脿 dell鈥檃utore.
"Sa cosa vuol dire il lutto. Questo non 猫 lutto. Questa 猫 la morte, la morte venuta prima del tempo, venuta per stare con lui, non per sopraffarlo o divorarlo, solo per stare con lui. 脠 come un cane che abbia scelto di abitare con lui, un grosso cane grigio, sordo e cieco, stupido e immobile. Quando dorme, il cane dorme; quando si sveglia, il cane si sveglia; quando esce, il cane lo segue sbandando."
Questo 猫 uno dei passaggi che pi霉 mi ha colpito, e che in poche righe descrive la sofferenza attonita e impotente della perdita; ha una grande potenza emotiva, rende tutto il crollare di un uomo. Sapere che 猫 stato scritto da un padre che aveva davvero perso il figlio fa un effetto diverso da quello che farebbe un鈥檌nvenzione, un鈥檌mmedesimazione dello scrittore.
Dice anche, in epilogo, Coetzee:
"Gli danno un sacco di soldi per scrivere libri, aveva detto la bambina ripetendo le parole del figlio morto. Quello che non avevano detto era che doveva dare l鈥檃nima in cambio"
Il romanzo, per quanto breve, 猫 denso e tocca molti altri temi. il contrasto fra padri e figli, le incomprensioni fra generazioni, il nichilismo, i tumulti in cui andava incubandosi la rivoluzione, la passione di Dostoevskij per Anna e la strana attrazione per la sua figlia ragazzina鈥� ci sono anche riferimenti a Delitto e Castigo, l鈥檌spirazione per I Demoni; ma fra tutto, ci貌 che pi霉 mi 猫 rimasto 猫 il senso di perdita, di irreparabile; il rammarico di un uomo che non potr脿 mai pi霉 confrontarsi con il figlio, chiarirsi.
Ci sono passaggi bellissimi, in questo libro: dolorosi, intensi, amari. Sgradevoli, anche, e nel senso buono del termine: grande lo scrittore che riesce davvero a metterti un brivido di disagio.
Nel suo complesso non mi ha convinta del tutto, e non saprei nemmeno dire perch茅, ma se fossi una che sottolinea i romanzi, qui ci avrei consumato la matita.
Dostoesvskij aveva davvero un figliastro di nome Pavel, ma questi non mor矛; gli sopravvisse, anzi. Il figlio di Coetzee per貌 mor矛, e io mi domando quanto di questo lutto, di questo dolore, l鈥檃utore abbia riversato nelle pagine del libro; in certi momenti mi 猫 sembrato tanto intimo il suo mettersi a nudo, da mettermi un po鈥� a disagio, come se stessi invadendo l鈥檌nteriorit脿 dell鈥檃utore.
"Sa cosa vuol dire il lutto. Questo non 猫 lutto. Questa 猫 la morte, la morte venuta prima del tempo, venuta per stare con lui, non per sopraffarlo o divorarlo, solo per stare con lui. 脠 come un cane che abbia scelto di abitare con lui, un grosso cane grigio, sordo e cieco, stupido e immobile. Quando dorme, il cane dorme; quando si sveglia, il cane si sveglia; quando esce, il cane lo segue sbandando."
Questo 猫 uno dei passaggi che pi霉 mi ha colpito, e che in poche righe descrive la sofferenza attonita e impotente della perdita; ha una grande potenza emotiva, rende tutto il crollare di un uomo. Sapere che 猫 stato scritto da un padre che aveva davvero perso il figlio fa un effetto diverso da quello che farebbe un鈥檌nvenzione, un鈥檌mmedesimazione dello scrittore.
Dice anche, in epilogo, Coetzee:
"Gli danno un sacco di soldi per scrivere libri, aveva detto la bambina ripetendo le parole del figlio morto. Quello che non avevano detto era che doveva dare l鈥檃nima in cambio"
Il romanzo, per quanto breve, 猫 denso e tocca molti altri temi. il contrasto fra padri e figli, le incomprensioni fra generazioni, il nichilismo, i tumulti in cui andava incubandosi la rivoluzione, la passione di Dostoevskij per Anna e la strana attrazione per la sua figlia ragazzina鈥� ci sono anche riferimenti a Delitto e Castigo, l鈥檌spirazione per I Demoni; ma fra tutto, ci貌 che pi霉 mi 猫 rimasto 猫 il senso di perdita, di irreparabile; il rammarico di un uomo che non potr脿 mai pi霉 confrontarsi con il figlio, chiarirsi.
Ci sono passaggi bellissimi, in questo libro: dolorosi, intensi, amari. Sgradevoli, anche, e nel senso buono del termine: grande lo scrittore che riesce davvero a metterti un brivido di disagio.
Nel suo complesso non mi ha convinta del tutto, e non saprei nemmeno dire perch茅, ma se fossi una che sottolinea i romanzi, qui ci avrei consumato la matita.
February 22, 2024
袣褍褌褋械 薪械褋谢褍褔邪泄薪芯 械 械写懈薪 芯褌 泻褉懈褌懈褔械褋泻懈 薪邪泄-芯写芯斜褉械薪懈褌械 邪薪谐谢芯械蟹懈褔薪懈 邪胁褌芯褉懈. 袟邪 屑械薪 械 懈褋褌懈薪褋泻邪 屑懈褋褌械褉懈褟 蟹邪褖芯 褍 薪邪褋 锌芯褔褌懈 薪械 褋械 懈蟹写邪胁邪, 褌褗泄 泻邪褌芯 褌邪蟹懈 泻薪懈谐邪 - 袦邪泄褋褌芯褉褗褌 芯褌 袩械褌械褉斜褍褉谐 - 蟹邪 屑械薪 械 褑褟谢芯 褋褌褗锌邪谢芯 胁 械胁芯谢褞褑懈褟褌邪 薪邪 谢懈褌械褉邪褌褍褉邪褌邪. 袩褉械写褋褌邪胁褟屑 褋懈 泻邪泻胁懈 褋邪 写褉褍谐懈褌械 屑褍 褉芯屑邪薪懈.
袦薪芯谐芯 屑懈 褋械 懈褋泻邪 写邪 泻邪卸邪 薪褟泻芯谢泻芯 写褍屑懈 蟹邪 胁邪卸薪芯褋褌褌邪 薪邪 褌邪蟹懈 泻薪懈谐邪. 袩褗褉胁芯, 屑薪芯谐芯 褋械 褉邪写胁邪屑, 褔械 锌褉芯褔械褌芯褏 袘械褋芯胁械 薪邪 袛芯褋褌芯械胁褋泻懈 锌褉械写懈 薪械褟. 袟邪褖芯褌芯 "袦邪泄褋褌芯褉褗褌 芯褌 袩械褌械褉斜褍褉谐" 褋懈 懈谐褉邪械 褋 斜懈芯谐褉邪褎懈褟褌邪 薪邪 袛芯褋褌芯械胁褋泻懈 锌芯 写芯褋褌邪 褋泻邪薪写邪谢械薪 薪邪褔懈薪. 袣褍褌褋械 懈薪泻芯褉锌芯褉懈褉邪 褋屑褗褉褌褌邪 薪邪 褋芯斜褋褌胁械薪懈褟 褋懈 褋懈薪 胁 斜懈芯谐褉邪褎懈褟褌邪 薪邪 肖褜芯写芯褉 袦懈褏邪泄谢芯胁懈褔, 泻邪褌芯 胁 褉芯屑邪薪邪 褍斜懈胁邪 写芯胁械写械薪懈褟 屑褍 褋懈薪 袩邪胁械谢 锌芯 薪邪褔懈薪, 泻芯泄褌芯 械 褋褏芯写械薪 褋褗褋 褋屑褗褉褌褌邪 薪邪 褋懈薪邪 薪邪 袣褍褌褋械 锌褉械蟹 1989 谐. (胁褗锌褉械泻懈, 褔械 懈褋褌芯褉懈褔械褋泻邪褌邪 褎邪泻褌芯谢芯谐懈褟 械, 褔械 袩邪胁械谢 褍屑懈褉邪 20 谐芯写懈薪懈 褋谢械写 袛芯褋褌芯械胁褋泻懈). 肖械泄泻 褎懈泻褑懈芯薪邪谢懈蟹懈褉邪薪邪褌邪 褋屑褗褉褌 薪邪 袩邪胁械谢 械 褋锌褍褋褗泻褗褌, 泻芯泄褌芯 褉邪卸写邪 褌胁芯褉褔械褋泻懈褟 锌褉芯褑械褋 芯泻芯谢芯 袘械褋芯胁械 胁 褉芯屑邪薪邪, 泻芯械褌芯 褋褗褖芯 械 懈蟹泻褉懈胁械薪邪 邪薪邪谢芯谐懈褟 芯褌 懈褋褌芯褉懈褔械褋泻邪褌邪 褎邪泻褌芯谢芯谐懈褟, 薪芯 褖械 屑懈 褌褉褟斜胁邪 褑褟谢 褔邪褋 蟹邪 写邪 芯斜褟褋薪褟 锌芯写褉芯斜薪芯. 袟邪褌芯胁邪 褖械 泻邪卸邪 薪邪泻褉邪褌泻芯:
袛邪 写褉邪谐-械薪写-写褉芯锌薪械褕 褋芯斜褋褌胁械薪邪褌邪 褋懈 褌褉邪谐械写懈褟 胁 斜懈芯谐褉邪褎懈褟褌邪 薪邪 袛芯褋褌芯械胁褋泻懈, 蟹邪 写邪 褋褗蟹写邪写械褕 锌褉懈褌械褋薪懈褌械谢薪芯 懈蟹褋谢械写胁邪薪械 胁褗褉褏褍 薪械胁械写芯屑懈褌械 锌褗褌懈褖邪 薪邪 褌胁芯褉褔械褋褌胁芯褌芯, 泻芯械褌芯 蟹邪 胁褋械泻懈 芯褌 薪邪褋 械 薪械褉邪蟹写械谢薪邪 褔邪褋褌 芯褌 胁褗褌褉械褕薪懈褌械 薪懈 斜芯褉懈, 写芯褉懈 懈 写邪 薪械 谐芯 芯褋褗蟹薪邪胁邪屑械. 袧械 蟹薪邪械褏, 褔械 泻薪懈谐邪褌邪 械 蟹邪褌芯胁邪, 薪芯 褋械谐邪 泻芯谐邪褌芯 褟 锌褉芯褔械褌芯褏 - 褋械 褉邪写胁邪屑, 褔械 薪械 蟹薪邪械褏, 蟹邪褖芯褌芯 屑芯卸械 斜懈 薪褟屑邪褕械 写邪 褟 锌褉芯褔械褌邪, 褌褗泄 泻邪褌芯 胁 屑芯屑械薪褌邪 薪械 屑懈 褋械 褔械褌邪褌 薪芯胁邪褌芯褉泻懈 谢懈褌械褉邪褌褍褉薪懈 锌芯写胁懈蟹懈. 袧芯 泻邪泻褗胁 斜芯薪褍褋, 褔械 褋邪屑邪 屑械 薪邪屑械褉懈 ;)
袦薪芯谐芯 褋褗褉褑械锌褉芯薪懈蟹胁邪褖邪 泻薪懈谐邪. 袦邪谐懈 袨'肖邪褉褗谢 锌褉邪胁懈 薪械褖芯 锌芯写芯斜薪芯 胁 锌褉械谢械褋褌薪邪褌邪 褋懈 泻薪懈谐邪 啸邪屑薪械褌, 薪芯 屑薪芯谐芯 锌芯-薪械屑芯褖薪芯 芯褌 袣褍褌褋械.
袦薪芯谐芯 屑懈 褋械 懈褋泻邪 写邪 泻邪卸邪 薪褟泻芯谢泻芯 写褍屑懈 蟹邪 胁邪卸薪芯褋褌褌邪 薪邪 褌邪蟹懈 泻薪懈谐邪. 袩褗褉胁芯, 屑薪芯谐芯 褋械 褉邪写胁邪屑, 褔械 锌褉芯褔械褌芯褏 袘械褋芯胁械 薪邪 袛芯褋褌芯械胁褋泻懈 锌褉械写懈 薪械褟. 袟邪褖芯褌芯 "袦邪泄褋褌芯褉褗褌 芯褌 袩械褌械褉斜褍褉谐" 褋懈 懈谐褉邪械 褋 斜懈芯谐褉邪褎懈褟褌邪 薪邪 袛芯褋褌芯械胁褋泻懈 锌芯 写芯褋褌邪 褋泻邪薪写邪谢械薪 薪邪褔懈薪. 袣褍褌褋械 懈薪泻芯褉锌芯褉懈褉邪 褋屑褗褉褌褌邪 薪邪 褋芯斜褋褌胁械薪懈褟 褋懈 褋懈薪 胁 斜懈芯谐褉邪褎懈褟褌邪 薪邪 肖褜芯写芯褉 袦懈褏邪泄谢芯胁懈褔, 泻邪褌芯 胁 褉芯屑邪薪邪 褍斜懈胁邪 写芯胁械写械薪懈褟 屑褍 褋懈薪 袩邪胁械谢 锌芯 薪邪褔懈薪, 泻芯泄褌芯 械 褋褏芯写械薪 褋褗褋 褋屑褗褉褌褌邪 薪邪 褋懈薪邪 薪邪 袣褍褌褋械 锌褉械蟹 1989 谐. (胁褗锌褉械泻懈, 褔械 懈褋褌芯褉懈褔械褋泻邪褌邪 褎邪泻褌芯谢芯谐懈褟 械, 褔械 袩邪胁械谢 褍屑懈褉邪 20 谐芯写懈薪懈 褋谢械写 袛芯褋褌芯械胁褋泻懈). 肖械泄泻 褎懈泻褑懈芯薪邪谢懈蟹懈褉邪薪邪褌邪 褋屑褗褉褌 薪邪 袩邪胁械谢 械 褋锌褍褋褗泻褗褌, 泻芯泄褌芯 褉邪卸写邪 褌胁芯褉褔械褋泻懈褟 锌褉芯褑械褋 芯泻芯谢芯 袘械褋芯胁械 胁 褉芯屑邪薪邪, 泻芯械褌芯 褋褗褖芯 械 懈蟹泻褉懈胁械薪邪 邪薪邪谢芯谐懈褟 芯褌 懈褋褌芯褉懈褔械褋泻邪褌邪 褎邪泻褌芯谢芯谐懈褟, 薪芯 褖械 屑懈 褌褉褟斜胁邪 褑褟谢 褔邪褋 蟹邪 写邪 芯斜褟褋薪褟 锌芯写褉芯斜薪芯. 袟邪褌芯胁邪 褖械 泻邪卸邪 薪邪泻褉邪褌泻芯:
袛邪 写褉邪谐-械薪写-写褉芯锌薪械褕 褋芯斜褋褌胁械薪邪褌邪 褋懈 褌褉邪谐械写懈褟 胁 斜懈芯谐褉邪褎懈褟褌邪 薪邪 袛芯褋褌芯械胁褋泻懈, 蟹邪 写邪 褋褗蟹写邪写械褕 锌褉懈褌械褋薪懈褌械谢薪芯 懈蟹褋谢械写胁邪薪械 胁褗褉褏褍 薪械胁械写芯屑懈褌械 锌褗褌懈褖邪 薪邪 褌胁芯褉褔械褋褌胁芯褌芯, 泻芯械褌芯 蟹邪 胁褋械泻懈 芯褌 薪邪褋 械 薪械褉邪蟹写械谢薪邪 褔邪褋褌 芯褌 胁褗褌褉械褕薪懈褌械 薪懈 斜芯褉懈, 写芯褉懈 懈 写邪 薪械 谐芯 芯褋褗蟹薪邪胁邪屑械. 袧械 蟹薪邪械褏, 褔械 泻薪懈谐邪褌邪 械 蟹邪褌芯胁邪, 薪芯 褋械谐邪 泻芯谐邪褌芯 褟 锌褉芯褔械褌芯褏 - 褋械 褉邪写胁邪屑, 褔械 薪械 蟹薪邪械褏, 蟹邪褖芯褌芯 屑芯卸械 斜懈 薪褟屑邪褕械 写邪 褟 锌褉芯褔械褌邪, 褌褗泄 泻邪褌芯 胁 屑芯屑械薪褌邪 薪械 屑懈 褋械 褔械褌邪褌 薪芯胁邪褌芯褉泻懈 谢懈褌械褉邪褌褍褉薪懈 锌芯写胁懈蟹懈. 袧芯 泻邪泻褗胁 斜芯薪褍褋, 褔械 褋邪屑邪 屑械 薪邪屑械褉懈 ;)
袦薪芯谐芯 褋褗褉褑械锌褉芯薪懈蟹胁邪褖邪 泻薪懈谐邪. 袦邪谐懈 袨'肖邪褉褗谢 锌褉邪胁懈 薪械褖芯 锌芯写芯斜薪芯 胁 锌褉械谢械褋褌薪邪褌邪 褋懈 泻薪懈谐邪 啸邪屑薪械褌, 薪芯 屑薪芯谐芯 锌芯-薪械屑芯褖薪芯 芯褌 袣褍褌褋械.
July 1, 2018
Cheguei a "O Mestre de Petersburgo" (1994) quando procurava livros sobre S茫o Petersburgo, tendo-me surpreendendo imenso com a descoberta, pois um livro sobre um dos maiores expoentes da literatura escrito por outro grande escritor, entretanto nobilizado, s贸 poderia ser uma grande obra. N茫o posso dizer que tenha ido al茅m do que conhecia de ambos, mas tamb茅m n茫o desiludiu propriamente. Senti mais Dostoi茅vski, apesar de escrito por Coetzee em jeito expiat贸rio, mas isso provavelmente deve-se mais ao facto de conhecer melhor a obra de Dostoi茅vski.
O texto fala-nos de um Dostoi茅vski que volta a S茫o Petersburgo, estando a viver em Dresden, para dar conta do funeral do seu enteado, Pavel (enteado verdadeiro). A morte do enteado acaba por estar ligada (imaginado por Coetzee) a alguns personagens revolucion谩rios reais (Sergey Nechayev), conhecidos da hist贸ria da R煤ssia e dos livros de Dostoi茅vski (principalmente "Dem贸nios"). Passamos assim algumas semanas na companhia do escritor enquanto este deambula pela cidade na tentativa de compreender o que ter谩 acontecido ao seu enteado ao mesmo tempo que vai lidando com os seus dem贸nios internos.
Este resumo da trama torna-se imensamente relevante j谩 que ele responde 脿 resposta porque Coetzee (1940) escreveu este livro. O seu filho Nicholas, morreu com 23 anos (1989), aproximadamente a idade do enteado (no livro) de Dostoi茅vski, 5 anos antes da publica莽茫o deste livro. Ou seja, temos Coetzee claramente 脿 procura de respostas dentro de si mesmo, a escrutinar-se, a tentar compreender o que sente, porque sente, como responder a t茫o grave trag茅dia, aquela porque nenhum pai deveria passar. Por outro lado, Dostoi茅vski (1821-1881) n茫o perdeu o enteado, mas perdeu dois filhos, Sonya 脿 nascen莽a (1868), e Alexey com 3 anos (1878) que muito o fez sofrer e o fez mesmo passar algum tempo num convento em busca de respostas. Mais raz玫es pelas quais Coetzee se interessaria por Dostoi茅vki n茫o s茫o f谩ceis de descortinar, at茅 porque Coetzee raramente fala, e menos ainda explica as suas obras, mas existe uma nota de uma entrevista que 茅 central para compreender este livro:
鈥淭oda autobiografia 茅 um contar de hist贸rias, toda a escrita 茅 autobiografia. [A escrita autobiogr谩fica 茅] um tipo de auto-escrita em que nos sentimos obrigados a respeitar os factos da nossa hist贸ria. Mas quais factos? Todos os factos? N茫o ... Escolhemos os factos na medida em que eles se encaixam no nosso prop贸sito evolutivo.鈥� (Coetzee, 1992)
Por outro lado, a raz茫o porque Coetzee escolhe para pano de fundo o cerne da obra "Dem贸nios" 茅 bastante menos clara, e menos ainda a raz茫o porque se foca no cap铆tulo censurado da obra, que podemos ler na edi莽茫o portuguesa, da Editorial Presen莽a, ainda que como anexo. Para mim resulta claro que Coetzee est谩 a tentar entrar na mente do maior psic贸logo da literatura em busca de algum tipo de autoterapia, mas pergunto: porqu锚 de forma desviante? Existir谩 uma sede de mal quando o mal nos bate a porta?
Publicado com links no VI:
O texto fala-nos de um Dostoi茅vski que volta a S茫o Petersburgo, estando a viver em Dresden, para dar conta do funeral do seu enteado, Pavel (enteado verdadeiro). A morte do enteado acaba por estar ligada (imaginado por Coetzee) a alguns personagens revolucion谩rios reais (Sergey Nechayev), conhecidos da hist贸ria da R煤ssia e dos livros de Dostoi茅vski (principalmente "Dem贸nios"). Passamos assim algumas semanas na companhia do escritor enquanto este deambula pela cidade na tentativa de compreender o que ter谩 acontecido ao seu enteado ao mesmo tempo que vai lidando com os seus dem贸nios internos.
Este resumo da trama torna-se imensamente relevante j谩 que ele responde 脿 resposta porque Coetzee (1940) escreveu este livro. O seu filho Nicholas, morreu com 23 anos (1989), aproximadamente a idade do enteado (no livro) de Dostoi茅vski, 5 anos antes da publica莽茫o deste livro. Ou seja, temos Coetzee claramente 脿 procura de respostas dentro de si mesmo, a escrutinar-se, a tentar compreender o que sente, porque sente, como responder a t茫o grave trag茅dia, aquela porque nenhum pai deveria passar. Por outro lado, Dostoi茅vski (1821-1881) n茫o perdeu o enteado, mas perdeu dois filhos, Sonya 脿 nascen莽a (1868), e Alexey com 3 anos (1878) que muito o fez sofrer e o fez mesmo passar algum tempo num convento em busca de respostas. Mais raz玫es pelas quais Coetzee se interessaria por Dostoi茅vki n茫o s茫o f谩ceis de descortinar, at茅 porque Coetzee raramente fala, e menos ainda explica as suas obras, mas existe uma nota de uma entrevista que 茅 central para compreender este livro:
鈥淭oda autobiografia 茅 um contar de hist贸rias, toda a escrita 茅 autobiografia. [A escrita autobiogr谩fica 茅] um tipo de auto-escrita em que nos sentimos obrigados a respeitar os factos da nossa hist贸ria. Mas quais factos? Todos os factos? N茫o ... Escolhemos os factos na medida em que eles se encaixam no nosso prop贸sito evolutivo.鈥� (Coetzee, 1992)
Por outro lado, a raz茫o porque Coetzee escolhe para pano de fundo o cerne da obra "Dem贸nios" 茅 bastante menos clara, e menos ainda a raz茫o porque se foca no cap铆tulo censurado da obra, que podemos ler na edi莽茫o portuguesa, da Editorial Presen莽a, ainda que como anexo. Para mim resulta claro que Coetzee est谩 a tentar entrar na mente do maior psic贸logo da literatura em busca de algum tipo de autoterapia, mas pergunto: porqu锚 de forma desviante? Existir谩 uma sede de mal quando o mal nos bate a porta?
Publicado com links no VI:
August 27, 2021
芦Pago y vendo: 茅sa es mi vida. Vendo mi vida, vendo la vida de los que me rodean, los vendo a todos. Soy un Yak贸vlev que comercia con las vidas de todos.禄
El ritmo, la perspectiva, los di谩logos, un personaje atormentado y el desnudo discurrir del subconsciente... La m铆mica es perfecta, es como estar leyendo a Dostoyevski.
Biograf铆as de Fi贸dor Mija铆lovich las hay por montones, estudios sobre sus obras y su influencia ni se diga, referencias a sus personajes y libros dentro de otros libros ni hablar, pero novelas, donde el escritor ruso aparece como personaje y no como el autor en la portada, hasta donde s茅, s贸lo existe una: El maestro de Petersburgo.
Y aunque novela, en cierto modo tambi茅n es una biograf铆a, de caracter铆sticas muy propias y mucho m谩s audaz y compleja que aquella famosa de Stefan Sweig a modo de estudio psicol贸gico: Para desvelar a su personaje, Coetzee le ha insuflado vida, lo ha hecho andar, hablar, actuar y pensar; creando una situaci贸n y tiempo hipot茅ticos (los hechos que relata la novela jam谩s ocurrieron), lo obliga a mostr谩rsenos tal cual fue, a pensar y actuar como el Dostoyevski hist贸rico lo habr铆a hecho en esas particulares circunstancias, a ser tal como era.
La historia est谩 repleta de referencias a sus personajes y obras, no se puede reprimir una sonrisita al reconocer una situaci贸n, episodio o car谩cter determinado, lo que constituye una delicia extra para el lector dostoyevskiano.
Adem谩s, como temas muy propios de Coetzee, la narraci贸n nos adentra y denuncia la sinraz贸n y barbarie del nihilismo ruso de finales del siglo XIX, esa doctrina (si acaso puede llam谩rsele as铆) que insta a destruirlo todo sin proponer nada constructivo a cambio, y que de forma bastante inocente (o est煤pida) asume que, ya aniquiladas las ideas e instituciones del pasado, la humanidad (as铆 como los economistas neoliberales dicen del mercado) ha de autoregularse a s铆 misma y podr谩 ser feliz. Tema que, con mucho m谩s detalle y como todo un profeta, el mismo Dostoyevski desarroll贸 en su novela Demonios.
Y claro, como no pod铆a faltar, aqu铆 y all谩 repartidas, el Nobel de Literatura nos da otras tantas leccioncitas de escritura; puestas en boca o en la cabeza del gran Dostoyevski, a trav茅s de las observaciones de circunstancias y sobre todo de las personas con que va interactuando, y analizando tambi茅n el poco talento de su hijo P谩vel, el ruso y el sudafricano nos ense帽an qu茅 y qu茅 no, c贸mo y c贸mo no es que un escritor se pone a escribir y construye sus historias. Hay que desnudarse y desnudar a los dem谩s, con lucidez y total desverg眉enza, sin pudor y sin miramientos, conscientes de que para descubrir la verdad hay que decirlo todo.
No es un oficio f谩cil. Porque no es f谩cil descubrir y desenterrar las monstruosidades propias y de los seres a quienes amamos, y justo de eso, en gran parte, es que se nutre la literatura.
De hecho, 茅sta es quiz谩 una de las ideas principales en que se mueve la novela: el atribulado Fi贸dor no ser谩 capaz de entender qu茅 es lo que en verdad lo retiene en Petersburgo y por qu茅 es que no puede acercarse a su querido P谩vel hasta que, derribado ya el pudor y la verg眉enza, decide o consigue figurarse a su hijo tal como debi贸 ser y no como 茅l hubiera querido que fuera o se lo imaginaba, por mucho que pudiera dolerle y haciendo a un lado todo el amor que le ten铆a.
El mismo Coetzee, al atreverse a novelar a personaje tan extraordinario, a mostrar sus grandes virtudes y escabrosas taras, a causa y a pesar de su admiraci贸n, est谩 dando la pauta. La gesta se figuraba descomunal, pero J.M. Coetzee lo logr贸 magn铆ficamente.
Me encanta Coetzee, adoro a Dostoyevski, 驴qu茅 m谩s podr铆a pedir?
El ritmo, la perspectiva, los di谩logos, un personaje atormentado y el desnudo discurrir del subconsciente... La m铆mica es perfecta, es como estar leyendo a Dostoyevski.
Biograf铆as de Fi贸dor Mija铆lovich las hay por montones, estudios sobre sus obras y su influencia ni se diga, referencias a sus personajes y libros dentro de otros libros ni hablar, pero novelas, donde el escritor ruso aparece como personaje y no como el autor en la portada, hasta donde s茅, s贸lo existe una: El maestro de Petersburgo.
Y aunque novela, en cierto modo tambi茅n es una biograf铆a, de caracter铆sticas muy propias y mucho m谩s audaz y compleja que aquella famosa de Stefan Sweig a modo de estudio psicol贸gico: Para desvelar a su personaje, Coetzee le ha insuflado vida, lo ha hecho andar, hablar, actuar y pensar; creando una situaci贸n y tiempo hipot茅ticos (los hechos que relata la novela jam谩s ocurrieron), lo obliga a mostr谩rsenos tal cual fue, a pensar y actuar como el Dostoyevski hist贸rico lo habr铆a hecho en esas particulares circunstancias, a ser tal como era.
La historia est谩 repleta de referencias a sus personajes y obras, no se puede reprimir una sonrisita al reconocer una situaci贸n, episodio o car谩cter determinado, lo que constituye una delicia extra para el lector dostoyevskiano.
Adem谩s, como temas muy propios de Coetzee, la narraci贸n nos adentra y denuncia la sinraz贸n y barbarie del nihilismo ruso de finales del siglo XIX, esa doctrina (si acaso puede llam谩rsele as铆) que insta a destruirlo todo sin proponer nada constructivo a cambio, y que de forma bastante inocente (o est煤pida) asume que, ya aniquiladas las ideas e instituciones del pasado, la humanidad (as铆 como los economistas neoliberales dicen del mercado) ha de autoregularse a s铆 misma y podr谩 ser feliz. Tema que, con mucho m谩s detalle y como todo un profeta, el mismo Dostoyevski desarroll贸 en su novela Demonios.
Y claro, como no pod铆a faltar, aqu铆 y all谩 repartidas, el Nobel de Literatura nos da otras tantas leccioncitas de escritura; puestas en boca o en la cabeza del gran Dostoyevski, a trav茅s de las observaciones de circunstancias y sobre todo de las personas con que va interactuando, y analizando tambi茅n el poco talento de su hijo P谩vel, el ruso y el sudafricano nos ense帽an qu茅 y qu茅 no, c贸mo y c贸mo no es que un escritor se pone a escribir y construye sus historias. Hay que desnudarse y desnudar a los dem谩s, con lucidez y total desverg眉enza, sin pudor y sin miramientos, conscientes de que para descubrir la verdad hay que decirlo todo.
No es un oficio f谩cil. Porque no es f谩cil descubrir y desenterrar las monstruosidades propias y de los seres a quienes amamos, y justo de eso, en gran parte, es que se nutre la literatura.
De hecho, 茅sta es quiz谩 una de las ideas principales en que se mueve la novela: el atribulado Fi贸dor no ser谩 capaz de entender qu茅 es lo que en verdad lo retiene en Petersburgo y por qu茅 es que no puede acercarse a su querido P谩vel hasta que, derribado ya el pudor y la verg眉enza, decide o consigue figurarse a su hijo tal como debi贸 ser y no como 茅l hubiera querido que fuera o se lo imaginaba, por mucho que pudiera dolerle y haciendo a un lado todo el amor que le ten铆a.
El mismo Coetzee, al atreverse a novelar a personaje tan extraordinario, a mostrar sus grandes virtudes y escabrosas taras, a causa y a pesar de su admiraci贸n, est谩 dando la pauta. La gesta se figuraba descomunal, pero J.M. Coetzee lo logr贸 magn铆ficamente.
Me encanta Coetzee, adoro a Dostoyevski, 驴qu茅 m谩s podr铆a pedir?
March 3, 2022
" 亘賴 爻賵诏賵丕乇丕賳蹖 賲蹖 丕賳丿蹖卮蹖丿 讴賴 丿乇 賲乇丿賴 倬丕蹖蹖 卮丕賳 亘賴 禺賵乇丿賳蹖 賴丕 賵 賳賵卮蹖丿賳蹖 賴丕 賴噩賵賲 賲蹖 亘乇賳丿. 賳賵毓爻 賵噩丿 賵 爻乇賵乇 丿乇 丕蹖賳 讴丕乇 賳賴賮鬲賴 丕爻鬲. 乇噩夭 禺賵丕賳蹖 亘乇丕蹖 賲乇诏 : 賴賳賵夭 丿爻鬲鬲 亘賴 賲丕 賳乇爻蹖丿賴 丕爻鬲 "
亘賴 賳馗乇賲 賴賲蹖賳 蹖賴 禺胤 讴丕賮蹖賴 鬲丕 賲卮禺氐 亘卮賴 亘丕 趩賴 讴鬲丕亘蹖 賵 亘丕 趩賴 賳賵毓 胤乇夭 賮讴乇蹖 乇賵 亘賴 乇賵 賴爻鬲蹖賲 .
丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 丕夭 丿蹖丿 賲賳 丿丕爻鬲丕賳 賲乇丿蹖 讴賴 賴賲 亘賴 毓賱鬲 丕夭 丿爻鬲 丿丕丿賳 倬爻乇卮 蹖讴 丨爻 诏賳丕賴 賲蹖讴賳賴 讴賴 丨丕囟乇 亘賴 丕毓鬲乇丕賮卮 賴賲 賳蹖爻鬲 . 賵 丿乇 鬲賲丕賲 讴鬲丕亘 鬲賱丕卮 賲蹖 讴賳賴 亘賴 賳賵毓蹖 亘丕 丕蹖噩丕丿 蹖讴 卮亘賴賴 夭賳丿诏蹖 丿乇 丌禺乇蹖賳 賲丨賱 丕賯丕賲鬲 倬爻乇卮 ! 夭賲丕賳 賴丕蹖 丕夭 丿爻鬲 乇賮鬲賴 賵 賳亘賵丿賳 賴丕卮 乇賵 噩亘乇丕賳 讴賳賴
丕夭 胤乇賮蹖 亘丕 賲乇丿蹖 乇賵 亘賴 乇賵 賴爻鬲蹖賲 讴賴 鬲丕夭賴 亘毓丿 丕夭貙 丕夭 丿爻鬲 丿丕丿賳 毓夭蹖夭卮 诏賵蹖丕 賲鬲賵噩賴 卮丿賴 讴賴 趩乇禺 夭賲丕賳賴 賲蹖 鬲賵賳賴 賴賲趩蹖賳 爻賳丕乇蹖賵蹖蹖 乇賵 賴賲 倬蹖卮 亘亘乇賴 ! 蹖毓賳蹖 噩賵賵丕賳 賴丕 賲蹖 賲蹖乇賳丿 賵 倬蹖乇 賴丕 夭賳丿賴 賲蹖 賲賵賳賳 . 賵 亘丕乇 丿乇讴 丕蹖賳 丨賯蹖賯鬲 爻丕丿賴 丕賵賳 賯丿乇 亘乇 乇賵蹖 丿賵卮 賲乇丿 爻賳诏蹖賳蹖 賲蹖 讴賳賴 讴賴 貙 丕賮讴賱乇 賵 丕丨爻丕爻丕鬲 賵 毓賯丕蹖丿 賲匕賴亘蹖卮 賴賲 丿乇诏蹖乇 賲蹖卮賴 . 鬲毓賱蹖賯 倬乇 讴卮卮 丕蹖賳 丿丕爻鬲丕賳 賵 賴賲蹖賳 丿賳蹖丕蹖 匕賴賳蹖 丌卮賮鬲賴 趩賳丕賳 噩匕丕亘蹖鬲蹖 亘乇丕蹖 賲賳 丿丕卮鬲 讴賴 亘毓丿 丕夭 賲丿鬲 賴丕 蹖讴 讴鬲丕亘 乇賵 蹖讴 賳賮乇 禺賵賳丿賲 .
賲賳 丕夭 讴賵鬲爻蹖 趩蹖夭蹖 賳禺賵賳丿賴 亘賵丿賲. 亘乇丕蹖 賴賲蹖賳 賳賲蹖 鬲賵賳賲 賯囟丕賵鬲 讴賳賲 丕賵賳 丿爻鬲賴 丕夭 丿賵爻鬲丕賳蹖 讴賴 丕蹖賳 丕孬乇 乇賵 噩夭 丕孬丕乇 賲鬲賵爻胤 丕蹖賳 賳賵蹖爻賳丿賴 賲蹖 丿賵賳賳 . 賵賱蹖 亘賴 賳馗乇 賲賳 氐乇賮 丨囟賵乇 丿丕爻鬲丕蹖賵賮爻讴蹖 亘賴 毓賳賵丕賳 囟丿賯賴乇賲丕賳 丕蹖賳 乇賲丕賳 貙 賴乇 卮蹖賮鬲賴 亘賴 丕蹖賳 丌丿賲 亘夭乇诏 乇賵 鬲乇睾蹖亘 賲蹖 讴賳賴 趩賳丿 爻丕毓鬲蹖 亘丕 丕蹖賳 乇賲丕賳 禺賱賵鬲 讴賳賴 賵 丕夭卮 賳賴丕蹖鬲 賱匕鬲 乇賵 亘亘乇賴 .
亘賴 賳馗乇賲 賴賲蹖賳 蹖賴 禺胤 讴丕賮蹖賴 鬲丕 賲卮禺氐 亘卮賴 亘丕 趩賴 讴鬲丕亘蹖 賵 亘丕 趩賴 賳賵毓 胤乇夭 賮讴乇蹖 乇賵 亘賴 乇賵 賴爻鬲蹖賲 .
丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 丕夭 丿蹖丿 賲賳 丿丕爻鬲丕賳 賲乇丿蹖 讴賴 賴賲 亘賴 毓賱鬲 丕夭 丿爻鬲 丿丕丿賳 倬爻乇卮 蹖讴 丨爻 诏賳丕賴 賲蹖讴賳賴 讴賴 丨丕囟乇 亘賴 丕毓鬲乇丕賮卮 賴賲 賳蹖爻鬲 . 賵 丿乇 鬲賲丕賲 讴鬲丕亘 鬲賱丕卮 賲蹖 讴賳賴 亘賴 賳賵毓蹖 亘丕 丕蹖噩丕丿 蹖讴 卮亘賴賴 夭賳丿诏蹖 丿乇 丌禺乇蹖賳 賲丨賱 丕賯丕賲鬲 倬爻乇卮 ! 夭賲丕賳 賴丕蹖 丕夭 丿爻鬲 乇賮鬲賴 賵 賳亘賵丿賳 賴丕卮 乇賵 噩亘乇丕賳 讴賳賴
丕夭 胤乇賮蹖 亘丕 賲乇丿蹖 乇賵 亘賴 乇賵 賴爻鬲蹖賲 讴賴 鬲丕夭賴 亘毓丿 丕夭貙 丕夭 丿爻鬲 丿丕丿賳 毓夭蹖夭卮 诏賵蹖丕 賲鬲賵噩賴 卮丿賴 讴賴 趩乇禺 夭賲丕賳賴 賲蹖 鬲賵賳賴 賴賲趩蹖賳 爻賳丕乇蹖賵蹖蹖 乇賵 賴賲 倬蹖卮 亘亘乇賴 ! 蹖毓賳蹖 噩賵賵丕賳 賴丕 賲蹖 賲蹖乇賳丿 賵 倬蹖乇 賴丕 夭賳丿賴 賲蹖 賲賵賳賳 . 賵 亘丕乇 丿乇讴 丕蹖賳 丨賯蹖賯鬲 爻丕丿賴 丕賵賳 賯丿乇 亘乇 乇賵蹖 丿賵卮 賲乇丿 爻賳诏蹖賳蹖 賲蹖 讴賳賴 讴賴 貙 丕賮讴賱乇 賵 丕丨爻丕爻丕鬲 賵 毓賯丕蹖丿 賲匕賴亘蹖卮 賴賲 丿乇诏蹖乇 賲蹖卮賴 . 鬲毓賱蹖賯 倬乇 讴卮卮 丕蹖賳 丿丕爻鬲丕賳 賵 賴賲蹖賳 丿賳蹖丕蹖 匕賴賳蹖 丌卮賮鬲賴 趩賳丕賳 噩匕丕亘蹖鬲蹖 亘乇丕蹖 賲賳 丿丕卮鬲 讴賴 亘毓丿 丕夭 賲丿鬲 賴丕 蹖讴 讴鬲丕亘 乇賵 蹖讴 賳賮乇 禺賵賳丿賲 .
賲賳 丕夭 讴賵鬲爻蹖 趩蹖夭蹖 賳禺賵賳丿賴 亘賵丿賲. 亘乇丕蹖 賴賲蹖賳 賳賲蹖 鬲賵賳賲 賯囟丕賵鬲 讴賳賲 丕賵賳 丿爻鬲賴 丕夭 丿賵爻鬲丕賳蹖 讴賴 丕蹖賳 丕孬乇 乇賵 噩夭 丕孬丕乇 賲鬲賵爻胤 丕蹖賳 賳賵蹖爻賳丿賴 賲蹖 丿賵賳賳 . 賵賱蹖 亘賴 賳馗乇 賲賳 氐乇賮 丨囟賵乇 丿丕爻鬲丕蹖賵賮爻讴蹖 亘賴 毓賳賵丕賳 囟丿賯賴乇賲丕賳 丕蹖賳 乇賲丕賳 貙 賴乇 卮蹖賮鬲賴 亘賴 丕蹖賳 丌丿賲 亘夭乇诏 乇賵 鬲乇睾蹖亘 賲蹖 讴賳賴 趩賳丿 爻丕毓鬲蹖 亘丕 丕蹖賳 乇賲丕賳 禺賱賵鬲 讴賳賴 賵 丕夭卮 賳賴丕蹖鬲 賱匕鬲 乇賵 亘亘乇賴 .
May 21, 2011
Strokes of a Paintbrush [Coetzee's Narrative Strokes]
J.M. Coetzee's descriptive tool appears to be like a paintbrush---or so it seems.
The deeply-rooted-thought-penetrating narrative is elegant in its indulgence, poetic in its expression, vivid in its portrayal, as it attempts to give form to a whirlpool of thoughts that glide restlessly inside the unstable mind of a genius. The wordings themselves become an efficient descriptive tool like that of a paintbrush, maneuvered by the painter's dexterous hand, as it dips unto the pastel of colors, abruptly swishing in the air and unto the white canvas as the strokes themselves insidiously capture a particular moment in vivid picture.
So, in a way, Coetzee's searing technique tries to encapsulate Dostoevsky's wandering thoughts, in parallel to the painter's ardent desire to freeze an image that lurks inside his head.
Coetzee's treatment of what goes on inside Dostoevsky's consciousness is unobstructed, like a wild river that gushes unstoppable strong currents, he lets the flow of thoughts wade in one point as it rushes immediately to an unrelated point capturing the unpredictable essence of Dostoevsky's fluttering thoughts as it tries to deduce from reason to quench his own thirst for an elusive understanding.
Perhaps Coetzee himself is "possessed" by Dostoevsky's spirit as he writes his own imaginative version of a part of his suffering life. As Coetzee attempts to shovel deeply into Dostoevsky's mind, he is able to mimic his styling in a lifelike image, making Dostoevsky appear like his own created fictional character---partly drawn from life, partly drawn from the eternal pool of imagination.
Coetzee's Fictional Dostoevsky [Madness and Divinity]
Biographies written about the historical Dostoevsky tell us only one side of his true nature, as much as the biographies themselves would tell us about his life in an accurate reality, in utmost veracity to know the real Dostoevsky, it merely presents an image unstripped of its facade. These biographies only decribe the outer Dostoevsky, only the body and its brushes with life but the soul that rests in his consciousness would forever be invisible to us, forever a mystery.
More than the biographies, the only way towards his consciousness, is through his elaborate works, which provide another side of his nature that can bring one a much closer look unto the truth. Even though his works are mostly fiction, it allows a sensitive reader to penetrate deeply into his thoughts and somehow from its depthness, responds to the Spirit that resides inside him, a sort of glimpse into his soul, so to speak.
Murakami puts it best when he said about the impossibility of knowing a person completely, no matter how intimate the relationship maybe. He said that it's like entering a huge unlit anteroom, as you push the door open, you will only grope in pitch black darkness. Perhaps, that's the way it will always be, as everyone struggles to know themselves, all of us are somehow at the mercy of life's constant changes that are soon bound to mould us every now and then into a different person from what we used to be.
Dostoevsky was no stranger to this kind of thinking, even with his divine intelligence, he was not immune with what life continued to push down his throat all throughout his existence. He was still human being after all. He too, struggled and succumbed to the continuous flow of life's experiences.
But it is through this often times virulent relationship we have with life that we come across the invisible true self, stripped from its facade of form, the revelation peeps through.
This is where Coetzee enters, as he attempts to penetrate the thoughts of Dostoevsky by tapping the tortured soul within him.
As Coetzee breathes an imaginative life to the consciousness of Dostoevsky, his very humaness emerges, he speaks, he loves, he lusts, he scolds, he mocks, he betrays, he cries like any other human being that lives and breathes. His tortured soul underneath seems to resurface without inhibition, as it lashes out both good and evil, his mind in utter confusion as it becomes a literal battlefield between God and the demon. His very image appears cloaked in darkness, where madness reigns supreme.
Darkness. Supreme Madness. The key to enlightenment?
Perhaps, this is what Coetzee is trying to imply about Dostoevsky, that there is a thin line that separates madness from divinity.鏈�
J.M. Coetzee's descriptive tool appears to be like a paintbrush---or so it seems.
The deeply-rooted-thought-penetrating narrative is elegant in its indulgence, poetic in its expression, vivid in its portrayal, as it attempts to give form to a whirlpool of thoughts that glide restlessly inside the unstable mind of a genius. The wordings themselves become an efficient descriptive tool like that of a paintbrush, maneuvered by the painter's dexterous hand, as it dips unto the pastel of colors, abruptly swishing in the air and unto the white canvas as the strokes themselves insidiously capture a particular moment in vivid picture.
So, in a way, Coetzee's searing technique tries to encapsulate Dostoevsky's wandering thoughts, in parallel to the painter's ardent desire to freeze an image that lurks inside his head.
Coetzee's treatment of what goes on inside Dostoevsky's consciousness is unobstructed, like a wild river that gushes unstoppable strong currents, he lets the flow of thoughts wade in one point as it rushes immediately to an unrelated point capturing the unpredictable essence of Dostoevsky's fluttering thoughts as it tries to deduce from reason to quench his own thirst for an elusive understanding.
Perhaps Coetzee himself is "possessed" by Dostoevsky's spirit as he writes his own imaginative version of a part of his suffering life. As Coetzee attempts to shovel deeply into Dostoevsky's mind, he is able to mimic his styling in a lifelike image, making Dostoevsky appear like his own created fictional character---partly drawn from life, partly drawn from the eternal pool of imagination.
Coetzee's Fictional Dostoevsky [Madness and Divinity]
Biographies written about the historical Dostoevsky tell us only one side of his true nature, as much as the biographies themselves would tell us about his life in an accurate reality, in utmost veracity to know the real Dostoevsky, it merely presents an image unstripped of its facade. These biographies only decribe the outer Dostoevsky, only the body and its brushes with life but the soul that rests in his consciousness would forever be invisible to us, forever a mystery.
More than the biographies, the only way towards his consciousness, is through his elaborate works, which provide another side of his nature that can bring one a much closer look unto the truth. Even though his works are mostly fiction, it allows a sensitive reader to penetrate deeply into his thoughts and somehow from its depthness, responds to the Spirit that resides inside him, a sort of glimpse into his soul, so to speak.
Murakami puts it best when he said about the impossibility of knowing a person completely, no matter how intimate the relationship maybe. He said that it's like entering a huge unlit anteroom, as you push the door open, you will only grope in pitch black darkness. Perhaps, that's the way it will always be, as everyone struggles to know themselves, all of us are somehow at the mercy of life's constant changes that are soon bound to mould us every now and then into a different person from what we used to be.
Dostoevsky was no stranger to this kind of thinking, even with his divine intelligence, he was not immune with what life continued to push down his throat all throughout his existence. He was still human being after all. He too, struggled and succumbed to the continuous flow of life's experiences.
But it is through this often times virulent relationship we have with life that we come across the invisible true self, stripped from its facade of form, the revelation peeps through.
This is where Coetzee enters, as he attempts to penetrate the thoughts of Dostoevsky by tapping the tortured soul within him.
As Coetzee breathes an imaginative life to the consciousness of Dostoevsky, his very humaness emerges, he speaks, he loves, he lusts, he scolds, he mocks, he betrays, he cries like any other human being that lives and breathes. His tortured soul underneath seems to resurface without inhibition, as it lashes out both good and evil, his mind in utter confusion as it becomes a literal battlefield between God and the demon. His very image appears cloaked in darkness, where madness reigns supreme.
Darkness. Supreme Madness. The key to enlightenment?
Perhaps, this is what Coetzee is trying to imply about Dostoevsky, that there is a thin line that separates madness from divinity.鏈�
May 28, 2016
There鈥檚 not really a lot of room for silliness in this review, not that Coetzee tends to lend himself to anything other than seriousness in general. Noted nepotistic asshole Martin Amis famously said that Coetzee鈥檚 entire corpus was "predicated on transmitting absolutely no pleasure." Sorry, Marty, but there is a distinct difference between you and JM: he can actually fucking write, and you have been reduced to a sound bite (and a footnote to literature that is already in the process of being forgotten). Should one feel that all books need necessarily provide 鈥榩leasure鈥� by whatever litmus Amis chose to define the parameters, count me out. I don't have enough fingers or toes to even provide a reasonable estimate of the number of books that I love that provided, oh, I don鈥檛 know, intellectual fucking stimulation before pleasure. Call me kooky.
The only thing I want to add here is a bit of context for this loveliest of books. In case anyone decides to read or revisit based on this review, it gives enormous dimensionality to bear in mind that Coetzee鈥檚 own son died not long before he wrote it. Thus, Dostoyevsky鈥檚 fictional dealing with his son鈥檚 death is very much a cathartic experience for the writer (FMD鈥檚 own son outlived him). The repeated motif of the son falling is excruciating when you bear in mind that JMC鈥檚 son fell to his own death in an accident. (Hey, I just realized that JM Coetzee initialized looks like the Jesus & Mary Chain.) I found all this out between the first and second times I read the book, and knowing the context just makes it all the more withering.
One last thing: for all you good friends of mine who worship Demons, here is a plumb opportunity to read a fictional account of Dostoyevsky interacting with that book鈥檚 inspiration鈥攜et another asshole, Sergey Gennadiyevich Nechayev. And yes, this book will make you want to reread Demons. So do both and boogie on the disco 鈥榬ound.
The only thing I want to add here is a bit of context for this loveliest of books. In case anyone decides to read or revisit based on this review, it gives enormous dimensionality to bear in mind that Coetzee鈥檚 own son died not long before he wrote it. Thus, Dostoyevsky鈥檚 fictional dealing with his son鈥檚 death is very much a cathartic experience for the writer (FMD鈥檚 own son outlived him). The repeated motif of the son falling is excruciating when you bear in mind that JMC鈥檚 son fell to his own death in an accident. (Hey, I just realized that JM Coetzee initialized looks like the Jesus & Mary Chain.) I found all this out between the first and second times I read the book, and knowing the context just makes it all the more withering.
One last thing: for all you good friends of mine who worship Demons, here is a plumb opportunity to read a fictional account of Dostoyevsky interacting with that book鈥檚 inspiration鈥攜et another asshole, Sergey Gennadiyevich Nechayev. And yes, this book will make you want to reread Demons. So do both and boogie on the disco 鈥榬ound.
August 28, 2020
賲禺鬲氐乇 賵 賲賮蹖丿 貨 乇賲丕賳賽 禺賱丕賯丕賳賴 蹖 丕爻鬲丕丿 讴賵鬲爻蹖
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丕夭 賵賯鬲蹖 賮乇夭賳丿卮 賲乇丿賴貙 丕夭 鬲賲丕賲 夭賳丿賴鈥屬囏� 賲鬲賳賮乇 丕爻鬲 ...
乇賵蹖 鬲禺鬲 丿乇丕夭 賲蹖鈥屭┴簇� 丿爻鬲鈥屬囏й屫� 乇丕 丿乇 爻蹖賳賴 賯賱丕亘 賲蹖鈥屭┵嗀� 鬲賳丿鬲賳丿 賳賮爻 賲蹖鈥屭┴簇� 賵 賲蹖鈥屭┵堌簇� 卮蹖胤丕賳蹖 乇丕 讴賴 亘乇 丕賵 爻蹖胤乇賴 蹖丕賮鬲賴 丕爻鬲 倬爻 亘乇丕賳丿. 賲蹖鈥屫з嗀� 亘蹖卮 丕夭 賴乇 趩蹖夭 亘賴 噩賳丕夭賴鈥屫й� 賲蹖鈥屬呚з嗀� 讴賴 乇賵蹖 鬲禺鬲 丕賮鬲丕丿賴 賵 丌賳趩賴 卮蹖胤丕賳 賲蹖鈥屫堌з嗀� 卮丕蹖丿 趩蹖夭蹖 賳亘丕卮丿 噩夭 乇賵丨 禺賵丿 丕賵 讴賴 亘丕賱鈥屬囏й屫� 乇丕 賵丨卮蹖丕賳賴 亘乇 賴賲 賲蹖鈥屭┵堌ㄘ�. 丿乇 丕蹖賳 賱丨馗賴貙 夭賳丿賴 亘賵丿賳 亘乇丕蹖卮 趩蹖夭蹖 賲孬賱 睾孬蹖丕賳 丕爻鬲. 賲蹖鈥屫堌з囏� 亘賲蹖乇丿 賵 丨鬲蹖 亘蹖卮鈥屫� : 賲丨賵 賵 賳丕亘賵丿 卮賵丿.
... 丿蹖诏乇 賴蹖趩鈥屭з� 倬爻乇卮 乇丕 賳禺賵丕賴丿 丿蹖丿.
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夭賳蹖 讴賴 讴賳丕乇 丕賵爻鬲 趩賴責 丌蹖丕 丕夭 丌賳 鬲讴丕賳賴鈥屫й� 讴賴 爻亘亘 卮丿 禺賵丿 乇丕 亘賴 賲乇丿 鬲爻賱蹖賲 讴賳丿 倬卮蹖賲丕賳 丕爻鬲責 丕诏乇 丌賳 丕鬲賮丕賯 賳蹖賮鬲丕丿賴 亘賵丿貙 诏乇丿卮 丕賲乇賵夭 賲蹖鈥屫堌з嗀池� 賳卮丕賳賴鈥屰� 卮乇賵毓 蹖讴 丕睾賵丕诏乇蹖 鬲賲丕賲鈥屫观屫ж� 亘丕卮丿貙 趩乇丕 讴賴 亘蹖鈥屭呚з� 丕蹖賳 賴賲丕賳 趩蹖夭蹖 丕爻鬲 讴賴 蹖讴 夭賳 賲蹖鈥屫堌з囏� : 丿賳亘丕賱卮 亘蹖賮鬲蹖貙 丿賱卮 乇丕 亘亘乇蹖貙 丕睾賵丕蹖卮 讴賳蹖 賵 丕賵 乇丕 鬲爻賱蹖賲 禺賵丿 爻丕夭蹖! 丨鬲蹖 賵賯鬲蹖 賴賲 讴賴 禺賵丿 乇丕 鬲爻賱蹖賲 賲蹖鈥屭┵嗀� 賳賲蹖鈥屫堌з囏� 賵丕丿丕丿賳蹖 毓蹖丕賳 亘丕卮丿貙 亘賱讴賴 賲蹖鈥屫堌з囏� 亘丕 賴丕賱賴鈥屫й� 卮蹖乇蹖賳 丕夭 爻乇丿乇诏賲蹖 丿乇丌賲蹖夭丿貙 賲蹖鈥屫堌з囏� 亘丕 丿爻鬲 倬爻 亘夭賳丿 賵 亘丕 倬丕 倬蹖卮 亘讴卮丿. 爻倬乇鈥屫з嗀ж嗀� 丕賲丕 賳賴 蹖讴 亘丕乇 亘乇丕蹖 賴賲蹖卮賴. 賲蹖鈥屫堌з囏� 亘蹖賳丿丕夭丿 賵 亘丕夭 亘乇丿丕乇丿貙 亘丕胤乇丕賵鬲貙 丕丨蹖丕卮丿賴貙 丿賵卮蹖夭賴鈥屬堌ж必� 賲賴蹖丕蹖 丌賳鈥屭┵� 亘丕夭 丿賱蹖 丕夭 丕賵 亘亘乇賳丿 賵 亘丕夭 鬲爻賱蹖賲 卮賵丿. 亘丕夭蹖 亘丕 賲乇诏貙 亘丕夭蹖 乇爻鬲丕禺蹖夭
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爻丕丿賴鈥屫勨€屬囏� 賳賲蹖鈥屫堌з嗁嗀� 賮乇賯 乇賵蹖丕 賵 賵丕賯毓蹖鬲 乇丕 鬲卮禺蹖氐 丿賴賳丿. 乇賵蹖丕賴丕 乇丕 亘丕賵乇 賲蹖鈥屭┵嗁嗀�.
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丕夭 賵賯鬲蹖 賮乇夭賳丿卮 賲乇丿賴貙 丕夭 鬲賲丕賲 夭賳丿賴鈥屬囏� 賲鬲賳賮乇 丕爻鬲 ...
乇賵蹖 鬲禺鬲 丿乇丕夭 賲蹖鈥屭┴簇� 丿爻鬲鈥屬囏й屫� 乇丕 丿乇 爻蹖賳賴 賯賱丕亘 賲蹖鈥屭┵嗀� 鬲賳丿鬲賳丿 賳賮爻 賲蹖鈥屭┴簇� 賵 賲蹖鈥屭┵堌簇� 卮蹖胤丕賳蹖 乇丕 讴賴 亘乇 丕賵 爻蹖胤乇賴 蹖丕賮鬲賴 丕爻鬲 倬爻 亘乇丕賳丿. 賲蹖鈥屫з嗀� 亘蹖卮 丕夭 賴乇 趩蹖夭 亘賴 噩賳丕夭賴鈥屫й� 賲蹖鈥屬呚з嗀� 讴賴 乇賵蹖 鬲禺鬲 丕賮鬲丕丿賴 賵 丌賳趩賴 卮蹖胤丕賳 賲蹖鈥屫堌з嗀� 卮丕蹖丿 趩蹖夭蹖 賳亘丕卮丿 噩夭 乇賵丨 禺賵丿 丕賵 讴賴 亘丕賱鈥屬囏й屫� 乇丕 賵丨卮蹖丕賳賴 亘乇 賴賲 賲蹖鈥屭┵堌ㄘ�. 丿乇 丕蹖賳 賱丨馗賴貙 夭賳丿賴 亘賵丿賳 亘乇丕蹖卮 趩蹖夭蹖 賲孬賱 睾孬蹖丕賳 丕爻鬲. 賲蹖鈥屫堌з囏� 亘賲蹖乇丿 賵 丨鬲蹖 亘蹖卮鈥屫� : 賲丨賵 賵 賳丕亘賵丿 卮賵丿.
... 丿蹖诏乇 賴蹖趩鈥屭з� 倬爻乇卮 乇丕 賳禺賵丕賴丿 丿蹖丿.
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夭賳蹖 讴賴 讴賳丕乇 丕賵爻鬲 趩賴責 丌蹖丕 丕夭 丌賳 鬲讴丕賳賴鈥屫й� 讴賴 爻亘亘 卮丿 禺賵丿 乇丕 亘賴 賲乇丿 鬲爻賱蹖賲 讴賳丿 倬卮蹖賲丕賳 丕爻鬲責 丕诏乇 丌賳 丕鬲賮丕賯 賳蹖賮鬲丕丿賴 亘賵丿貙 诏乇丿卮 丕賲乇賵夭 賲蹖鈥屫堌з嗀池� 賳卮丕賳賴鈥屰� 卮乇賵毓 蹖讴 丕睾賵丕诏乇蹖 鬲賲丕賲鈥屫观屫ж� 亘丕卮丿貙 趩乇丕 讴賴 亘蹖鈥屭呚з� 丕蹖賳 賴賲丕賳 趩蹖夭蹖 丕爻鬲 讴賴 蹖讴 夭賳 賲蹖鈥屫堌з囏� : 丿賳亘丕賱卮 亘蹖賮鬲蹖貙 丿賱卮 乇丕 亘亘乇蹖貙 丕睾賵丕蹖卮 讴賳蹖 賵 丕賵 乇丕 鬲爻賱蹖賲 禺賵丿 爻丕夭蹖! 丨鬲蹖 賵賯鬲蹖 賴賲 讴賴 禺賵丿 乇丕 鬲爻賱蹖賲 賲蹖鈥屭┵嗀� 賳賲蹖鈥屫堌з囏� 賵丕丿丕丿賳蹖 毓蹖丕賳 亘丕卮丿貙 亘賱讴賴 賲蹖鈥屫堌з囏� 亘丕 賴丕賱賴鈥屫й� 卮蹖乇蹖賳 丕夭 爻乇丿乇诏賲蹖 丿乇丌賲蹖夭丿貙 賲蹖鈥屫堌з囏� 亘丕 丿爻鬲 倬爻 亘夭賳丿 賵 亘丕 倬丕 倬蹖卮 亘讴卮丿. 爻倬乇鈥屫з嗀ж嗀� 丕賲丕 賳賴 蹖讴 亘丕乇 亘乇丕蹖 賴賲蹖卮賴. 賲蹖鈥屫堌з囏� 亘蹖賳丿丕夭丿 賵 亘丕夭 亘乇丿丕乇丿貙 亘丕胤乇丕賵鬲貙 丕丨蹖丕卮丿賴貙 丿賵卮蹖夭賴鈥屬堌ж必� 賲賴蹖丕蹖 丌賳鈥屭┵� 亘丕夭 丿賱蹖 丕夭 丕賵 亘亘乇賳丿 賵 亘丕夭 鬲爻賱蹖賲 卮賵丿. 亘丕夭蹖 亘丕 賲乇诏貙 亘丕夭蹖 乇爻鬲丕禺蹖夭
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爻丕丿賴鈥屫勨€屬囏� 賳賲蹖鈥屫堌з嗁嗀� 賮乇賯 乇賵蹖丕 賵 賵丕賯毓蹖鬲 乇丕 鬲卮禺蹖氐 丿賴賳丿. 乇賵蹖丕賴丕 乇丕 亘丕賵乇 賲蹖鈥屭┵嗁嗀�.
April 25, 2025
"趩蹖夭蹖 賳賲蹖诏匕乇丿 讴賴 賳丕诏賴丕賳 賲蹖倬乇爻丿: 芦趩胤賵乇 卮丿 讴賴 倬爻乇賲 賲爻鬲兀噩乇 卮賲丕 卮丿責 賴賳賵夭 丨賵丕爻卮 賴爻鬲 讴賴 丕賵 乇丕 倬爻乇賲 亘賳丕賲丿 丕诏乇 丕爻賲卮 乇丕 亘诏賵蹖丿 亘賴 賱乇夭賴 禺賵丕賴丿 丕賮鬲丕丿.
夭賳 賲乇丿丿 丕爻鬲 賵 賲乇丿 賲蹖丿丕賳丿 .趩乇丕 賲蹖鬲賵丕賳爻鬲 亘诏賵蹖丿 倬爻乇 禺賵亘蹖 亘賵丿. 賲丕 賴賲 丕夭 丕賵 禺賵卮賲丕賳 賲蹖 丌賲丿. 丕賲丕 賲卮讴賱 亘乇 爻乇 亘賵丿 丕爻鬲 讴賴 爻丿 乇丕賴卮 卮丿賴 鬲丕 賵賯鬲蹖 讴賴 賳鬲賵丕賳 丕蹖賳 賵丕跇賴 乇丕 亘丕 鬲賲丕賲 亘蹖 乇丨賲蹖 丕卮 丿賵乇 夭丿 丕賵 丌賳 乇丕 丿乇 亘乇丕亘乇 丕蹖賳 賲乇丿 亘賴 夭亘丕賳 賳禺賵丕賴丿 丌賵乇丿."
"丨丕賱丕 賵賯鬲 丌賳 丕爻鬲 讴賴 禺賵丿卮 乇丕 乇賵蹖 賯亘乇 亘蹖賳丿丕夭丿. 丕賲丕 賴賲蹖賳 胤賵乇 蹖讴亘丕乇賴 讴賴 賳賲蹖 卮賵丿. 丕蹖賳 亘乇蹖丿賴 蹖 禺丕讴 亘蹖卮 丕夭 丨丿 睾乇蹖亘 丕爻鬲 賵 賴蹖趩 丕丨爻丕爻蹖 乇丕 丿乇 賵噩賵丿 丕賵 亘蹖丿丕乇 賳賲蹖讴賳丿 诏匕卮鬲賴 丕夭 丕蹖賳 亘賴 丕蹖賳 爻賱爻賱賴 蹖 丿爻鬲丕賳 丕毓鬲賲丕丿 賳丿丕乇丿. 亘賴 丕蹖賳 丿爻鬲丕賳 賱丕亘丿 亘蹖 丕毓鬲賳丕蹖蹖 讴賴 丕毓囟丕蹖 倬爻乇卮 乇丕 丿乇 禺丕讴 讴乇丿賴 丕賳丿貙 丌賳诏丕賴 讴賴 丕賵 趩賵賳 诏賵爻賮賳丿蹖 亘蹖 禺亘乇 賴賳賵夭 丿乇 丿乇爻丿賳 亘賵丿. 丕賵 賴賳賵夭 賲賴蹖丕蹖 賳卮爻鬲賳 丿乇 賯胤丕乇 鬲賯丿蹖乇 賳蹖爻鬲貙 賯胤丕乇蹖 讴賴 丕賵 乇丕 丕夭 禺丕胤乇賴 蹖 賴賳賵夭 夭賳丿賴 蹖 倬爻乇 亘賴 賳丕賲 丕賵 丿乇 诏賵丕賴蹖 賮賵鬲 賲蹖 乇爻丕賳丿 賵 丕夭 丌賳噩丕 亘賴 卮賲丕乇賴 蹖 乇賵蹖 氐賱蹖亘 亘丕 禺賵丿卮 賲蹖诏賵蹖丿 :賲賵賯鬲: 賴蹖趩 毓丿丿蹖 賳賴丕蹖蹖 賳蹖爻鬲貙 賴賲賴 賲賵賯鬲賳丿. 丕诏乇 噩夭 丕蹖賳 賲蹖亘賵丿 亘丕夭蹖 亘賴 倬丕蹖丕賳 賲蹖乇爻蹖丿. 亘賴 胤乇賮賴 丕賱毓蹖賳蹖 趩乇禺 亘丕夭 禺賵丕賴丿 趩乇禺蹖丿 丕毓丿丕丿 亘賴 鬲讴丕倬賵 禺賵丕賴賳丿 丕賮鬲丕丿 賵 賴賲賴 趩蹖夭 丿乇爻鬲 禺賵丕賴丿 卮丿."
丕賲鬲蹖丕夭蹖 讴賴 丿乇 丕氐賱 亘賴 讴鬲丕亘 賲蹖丿賲 爻賴 賴爻鬲 賵賱蹖 丿乇 氐賮丨丕鬲 丌睾丕夭蹖賳 丿乇丿 丕夭 丿爻鬲 丿丕丿賳 賵 亘賴 禺丕讴 爻倬乇丿賳 蹖讴 毓夭蹖夭 乇賵 趩賳丕賳 亘丕卮讴賵賴 賵 賲賱賲賵爻 卮乇丨 丿丕丿賴 亘賵丿 讴賴 賴賲賵賳 賱丨馗賴 鬲氐賲蹖賲 诏乇賮鬲賲 丿乇 賳賴丕蹖鬲 蹖讴 爻鬲丕乇賴 亘蹖卮鬲乇 亘丿賲.
夭賳 賲乇丿丿 丕爻鬲 賵 賲乇丿 賲蹖丿丕賳丿 .趩乇丕 賲蹖鬲賵丕賳爻鬲 亘诏賵蹖丿 倬爻乇 禺賵亘蹖 亘賵丿. 賲丕 賴賲 丕夭 丕賵 禺賵卮賲丕賳 賲蹖 丌賲丿. 丕賲丕 賲卮讴賱 亘乇 爻乇 亘賵丿 丕爻鬲 讴賴 爻丿 乇丕賴卮 卮丿賴 鬲丕 賵賯鬲蹖 讴賴 賳鬲賵丕賳 丕蹖賳 賵丕跇賴 乇丕 亘丕 鬲賲丕賲 亘蹖 乇丨賲蹖 丕卮 丿賵乇 夭丿 丕賵 丌賳 乇丕 丿乇 亘乇丕亘乇 丕蹖賳 賲乇丿 亘賴 夭亘丕賳 賳禺賵丕賴丿 丌賵乇丿."
"丨丕賱丕 賵賯鬲 丌賳 丕爻鬲 讴賴 禺賵丿卮 乇丕 乇賵蹖 賯亘乇 亘蹖賳丿丕夭丿. 丕賲丕 賴賲蹖賳 胤賵乇 蹖讴亘丕乇賴 讴賴 賳賲蹖 卮賵丿. 丕蹖賳 亘乇蹖丿賴 蹖 禺丕讴 亘蹖卮 丕夭 丨丿 睾乇蹖亘 丕爻鬲 賵 賴蹖趩 丕丨爻丕爻蹖 乇丕 丿乇 賵噩賵丿 丕賵 亘蹖丿丕乇 賳賲蹖讴賳丿 诏匕卮鬲賴 丕夭 丕蹖賳 亘賴 丕蹖賳 爻賱爻賱賴 蹖 丿爻鬲丕賳 丕毓鬲賲丕丿 賳丿丕乇丿. 亘賴 丕蹖賳 丿爻鬲丕賳 賱丕亘丿 亘蹖 丕毓鬲賳丕蹖蹖 讴賴 丕毓囟丕蹖 倬爻乇卮 乇丕 丿乇 禺丕讴 讴乇丿賴 丕賳丿貙 丌賳诏丕賴 讴賴 丕賵 趩賵賳 诏賵爻賮賳丿蹖 亘蹖 禺亘乇 賴賳賵夭 丿乇 丿乇爻丿賳 亘賵丿. 丕賵 賴賳賵夭 賲賴蹖丕蹖 賳卮爻鬲賳 丿乇 賯胤丕乇 鬲賯丿蹖乇 賳蹖爻鬲貙 賯胤丕乇蹖 讴賴 丕賵 乇丕 丕夭 禺丕胤乇賴 蹖 賴賳賵夭 夭賳丿賴 蹖 倬爻乇 亘賴 賳丕賲 丕賵 丿乇 诏賵丕賴蹖 賮賵鬲 賲蹖 乇爻丕賳丿 賵 丕夭 丌賳噩丕 亘賴 卮賲丕乇賴 蹖 乇賵蹖 氐賱蹖亘 亘丕 禺賵丿卮 賲蹖诏賵蹖丿 :賲賵賯鬲: 賴蹖趩 毓丿丿蹖 賳賴丕蹖蹖 賳蹖爻鬲貙 賴賲賴 賲賵賯鬲賳丿. 丕诏乇 噩夭 丕蹖賳 賲蹖亘賵丿 亘丕夭蹖 亘賴 倬丕蹖丕賳 賲蹖乇爻蹖丿. 亘賴 胤乇賮賴 丕賱毓蹖賳蹖 趩乇禺 亘丕夭 禺賵丕賴丿 趩乇禺蹖丿 丕毓丿丕丿 亘賴 鬲讴丕倬賵 禺賵丕賴賳丿 丕賮鬲丕丿 賵 賴賲賴 趩蹖夭 丿乇爻鬲 禺賵丕賴丿 卮丿."
丕賲鬲蹖丕夭蹖 讴賴 丿乇 丕氐賱 亘賴 讴鬲丕亘 賲蹖丿賲 爻賴 賴爻鬲 賵賱蹖 丿乇 氐賮丨丕鬲 丌睾丕夭蹖賳 丿乇丿 丕夭 丿爻鬲 丿丕丿賳 賵 亘賴 禺丕讴 爻倬乇丿賳 蹖讴 毓夭蹖夭 乇賵 趩賳丕賳 亘丕卮讴賵賴 賵 賲賱賲賵爻 卮乇丨 丿丕丿賴 亘賵丿 讴賴 賴賲賵賳 賱丨馗賴 鬲氐賲蹖賲 诏乇賮鬲賲 丿乇 賳賴丕蹖鬲 蹖讴 爻鬲丕乇賴 亘蹖卮鬲乇 亘丿賲.
January 31, 2021
Ap啪valg膮 tikriausiai tur臈膷iau prad臈ti pamin臈dama, kad m臈gstu J.M.Coetzee. Galb奴t ne visk膮 esu skai膷iusi, o ir i拧 skaityt懦 k奴rini懦 (鈥濨arbar懦 belaukiant鈥�, 鈥濶e拧lov臈鈥�, 鈥濵aiklo K gyvenimas ir laikai鈥�, 鈥濫lizabeta Kostelo鈥�, 鈥濲臈zaus vaikyst臈鈥�, 鈥濲臈zaus mokyklos metai鈥�) ne visi vienodai patiko. Ta膷iau neabejotina, kad kiekvienas jo romanas savitas stiliumi, siu啪etais, id臈jomis.
鈥濸eterburgo meistras鈥� - labai 寞domi ir vykusi interpretacija kito literat奴ros grando 鈥� F.Dostojevskio 鈥� k奴rybos motyvais. Siu啪etas trumpai: Dostojevskis slapta gr寞啪ta i拧 Drezdeno, kur gyvena su jaunute antr膮ja 啪mona, 寞 Peterburg膮 su啪inoj臋s apie savo 寞s奴nio Pavelo mirt寞. Meistras apsigyvena 寞s奴nio nuomotame bute, bendrauja su jo aplinkos 啪mon臈mis, bla拧kosi po miest膮.
Skaitydama vis negal臈jau atsikratyt jausmo, kad 拧is romanas yra tarsi duokl臈 Dostojevskiui 鈥� visur 寞啪velgiau aliuzijas 寞 jo k奴rinius: 鈥濶usikaltimas ir bausm臈鈥�, 鈥濴o拧臈jas鈥�, 鈥濪emonai鈥�, 鈥濨roliai karamazovai鈥�. O gal tik labai nor臈jau 寞啪velgti? Mano mintyse persipyn臈 Dostojevskio ir Coetzee sukurti persona啪ai, bei realios istorin臈s asmenyb臈s. Dostojevskis kaip atskal奴nas klaid啪ioja po 拧alt膮 ir ni奴r懦 Peterburg膮 kamuojamas galimos kalt臈s, o gal ie拧kodamas kalt懦j懦. Galb奴t atsakymo, kas i拧 tikr懦j懦 nutiko Pavelui.
K奴rinyje J.M.Coetzee palie膷ia daugyb臋 tem懦: t臈v懦 ir vaik懦 santykiai, kart懦 konfliktas, sen臈jimo jausmas; turting懦j懦 ir varg拧懦 prie拧prie拧a, politika, naujos id臈jos, b奴simos revoliucijos nuojautos. Temos artimos ir pa膷iam Meistrui. Tekstas tir拧tas ir sud臈tingas, tamsus ir ni奴rus.
Knyg膮 rekomenduo膷iau visiems J.M.Coetzee gerb臈jams. Nesusipa啪inusiems su Dostojevskio k奴ryba, grei膷iausiai pakaks paties Coetzee meistri拧kumo; skai膷iusiems Dostojevsk寞 鈥� pavyks tiesiog dar truput臈l寞 giliau 寞sijausti ir suvokti 拧寞 k奴rin寞.
鈥濸eterburgo meistras鈥� - labai 寞domi ir vykusi interpretacija kito literat奴ros grando 鈥� F.Dostojevskio 鈥� k奴rybos motyvais. Siu啪etas trumpai: Dostojevskis slapta gr寞啪ta i拧 Drezdeno, kur gyvena su jaunute antr膮ja 啪mona, 寞 Peterburg膮 su啪inoj臋s apie savo 寞s奴nio Pavelo mirt寞. Meistras apsigyvena 寞s奴nio nuomotame bute, bendrauja su jo aplinkos 啪mon臈mis, bla拧kosi po miest膮.
Skaitydama vis negal臈jau atsikratyt jausmo, kad 拧is romanas yra tarsi duokl臈 Dostojevskiui 鈥� visur 寞啪velgiau aliuzijas 寞 jo k奴rinius: 鈥濶usikaltimas ir bausm臈鈥�, 鈥濴o拧臈jas鈥�, 鈥濪emonai鈥�, 鈥濨roliai karamazovai鈥�. O gal tik labai nor臈jau 寞啪velgti? Mano mintyse persipyn臈 Dostojevskio ir Coetzee sukurti persona啪ai, bei realios istorin臈s asmenyb臈s. Dostojevskis kaip atskal奴nas klaid啪ioja po 拧alt膮 ir ni奴r懦 Peterburg膮 kamuojamas galimos kalt臈s, o gal ie拧kodamas kalt懦j懦. Galb奴t atsakymo, kas i拧 tikr懦j懦 nutiko Pavelui.
K奴rinyje J.M.Coetzee palie膷ia daugyb臋 tem懦: t臈v懦 ir vaik懦 santykiai, kart懦 konfliktas, sen臈jimo jausmas; turting懦j懦 ir varg拧懦 prie拧prie拧a, politika, naujos id臈jos, b奴simos revoliucijos nuojautos. Temos artimos ir pa膷iam Meistrui. Tekstas tir拧tas ir sud臈tingas, tamsus ir ni奴rus.
Knyg膮 rekomenduo膷iau visiems J.M.Coetzee gerb臈jams. Nesusipa啪inusiems su Dostojevskio k奴ryba, grei膷iausiai pakaks paties Coetzee meistri拧kumo; skai膷iusiems Dostojevsk寞 鈥� pavyks tiesiog dar truput臈l寞 giliau 寞sijausti ir suvokti 拧寞 k奴rin寞.
January 27, 2021
丕蹖賳 讴鬲丕亘 乇丕 亘禺賵丕賳蹖丿 丕诏乇: 1) 亘賴 丌孬丕乇 倬爻鬲鈥屬呚辟� 讴賵鬲爻蹖 賵 毓丿賲 賯胤毓蹖鬲 賵 亘丿賱 卮丿賳 爻賵跇踿 賳賵蹖爻賳丿賴 亘賴 爻賵跇踿 賳賵卮鬲賴鈥屫簇� 賵 丕乇噩丕毓丕鬲 賵 鬲賱賲蹖丨丕鬲 賮乇丕賵丕賳 毓賱丕賯賴鈥屬呝嗀屫� 2) 卮蹖賮鬲踿 丿賳蹖丕蹖 丿丕爻鬲丕蹖賮爻讴蹖 賵 噩丿丕賱 賴賲蹖卮诏蹖 卮讴 賵 丕蹖賲丕賳 賵 鬲賯丕亘賱 賳爻賱鈥屬囏� 賵 讴賳丿 賵 讴丕賵 丿乇 丿賳蹖丕蹖 丿蹖賵丕賳賴鈥屬堌ж� 丕賳賯賱丕亘蹖賵賳 賴爻鬲蹖丿貙 3) 丕夭 禺賵丕賳丿賳 蹖讴 鬲乇噩賲踿 丿賯蹖賯 亘丕 賮丕乇爻蹖 倬丕讴蹖夭賴 賵 賵蹖乇丕爻鬲賴 賱匕鬲 賲蹖鈥屫ㄘ臂屫�.
賲賳 亘賴鈥屫簇蒂� 亘賴 丿賵 賲賵乇丿 丕賵賱 賴蹖趩 毓賱丕賯賴鈥屫й� 賳丿丕乇賲 賵 讴鬲丕亘 乇丕 氐乇賮丕賸 亘賴 禺丕胤乇 賲賵乇丿 爻賵賲 禺賵丕賳丿賲 賵 丨馗賾 賱丕夭賲 賵 讴丕賮蹖 乇丕 賴賲 亘乇丿賲!
賲賳 亘賴鈥屫簇蒂� 亘賴 丿賵 賲賵乇丿 丕賵賱 賴蹖趩 毓賱丕賯賴鈥屫й� 賳丿丕乇賲 賵 讴鬲丕亘 乇丕 氐乇賮丕賸 亘賴 禺丕胤乇 賲賵乇丿 爻賵賲 禺賵丕賳丿賲 賵 丨馗賾 賱丕夭賲 賵 讴丕賮蹖 乇丕 賴賲 亘乇丿賲!
December 19, 2024
芦诏丕賴蹖 賮讴乇 賲蹖鈥屭┵嗁� 丌蹖丕 賲丕貙 賴乇讴丿丕賲賲丕賳貙 賱蹖丕賯鬲 倬賳丕賴诏丕賴 蹖丕 賲兀賲賳蹖 乇丕 賳丿丕乇蹖賲責 噩丕蹖蹖 讴賴 鬲蹖睾 毓丿丕賱鬲 丿賲蹖 丕夭 亘丕賱丕蹖 爻乇賲丕賳 亘乇丿丕卮鬲賴 卮賵丿 賵 亘乇 賲丕 卮賮賯鬲 丌賵乇賳丿責 丌蹖丕 賲丕 賱丕蹖賯 丌賳 趩蹖夭蹖 賳蹖爻鬲蹖賲 讴賴 賱丕蹖賯卮 賳蹖爻鬲蹖賲責禄
禺丕胤乇丕鬲 禺蹖丕賱蹖!
卮禺氐蹖鬲 丕氐賱蹖賽 芦丕爻鬲丕丿 倬鬲乇夭亘賵乇诏禄 賮蹖賵丿賵乇 丿丕爻鬲丕蹖賮爻讴蹖 丕爻鬲 丿乇 丕讴鬲亘乇 佟侉鄱侃貙 丿乇爻鬲 賯亘賱 丕夭 卮乇賵毓 賳賵卮鬲賳 爻賵賲蹖賳 乇賲丕賳卮貙 芦卮蹖丕胤蹖賳禄. 丕爻鬲丕丿 丿乇 丿乇爻丿賳 夭賳丿诏蹖 賲蹖鈥屭┵嗀� 鬲丕 丕蹖賳鈥屭┵� 倬爻 丕夭 賲乇诏 賳丕诏賴丕賳蹖 倬爻乇禺賵丕賳丿賴鈥屫ж簇� 倬丕賵賱貙 丿乇 佟佗 丕讴鬲亘乇 亘賴 爻賳鬲 倬鬲乇夭亘賵乇诏 賮乇丕 禺賵丕賳丿賴 賲蹖鈥屫促堌�. 倬丕賵賱 丿乇 丨丕丿孬賴鈥屫й� 賲卮讴賵讴 丕夭 丕乇鬲賮丕毓 爻賯賵胤 讴乇丿賴 賵 賲乇丿賴貙 丨丕丿孬賴鈥屫й� 讴賴 賲毓賱賵賲 賳蹖爻鬲 禺賵丿讴卮蹖 亘賵丿賴 蹖丕 賯鬲賱. 丿丕爻鬲丕蹖賮爻讴蹖 讴賴 丕夭 丿爻鬲 胤賱亘讴丕乇丕賳 賮乇丕乇蹖鈥屫池� 亘丕 丕爻賲 賵 倬丕爻倬賵乇鬲 噩毓賱蹖 亘賴 倬鬲乇夭亘賵乇诏 賲蹖鈥屫③屫� 爻丕讴賳 丕鬲丕賯 倬爻乇卮 賲蹖鈥屫促堌� 賵 亘丕 賲丕噩乇丕賴丕蹖蹖 爻蹖丕爻蹖 賵 賵丕賯毓蹖丕鬲蹖 丕夭 夭賳丿诏蹖 丕賵 讴賴 亘丕禺亘乇 賳亘賵丿賴 丿乇诏蹖乇 賲蹖鈥屫促堌�.
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乇賵丕蹖鬲 讴鬲丕亘 賳賴 賵丕賯毓蹖鬲 丕爻鬲 賵 賳賴 賯氐賴. 丿乇賵丕賯毓 蹖讴鈥屫池臂� 賵丕賯毓蹖鬲鈥屬囏� 丕夭 夭賳丿诏蹖 丿丕爻鬲丕蹖賮爻讴蹖 诏乇賮鬲賴 卮丿賴 賵 丿乇 賯丕賱亘 賯氐賴 倬乇賵乇丿賴 卮丿賴 丕爻鬲貙 亘賳丕亘乇丕蹖賳 賳賴 丿丕爻鬲丕賳 賵丕賯毓蹖 丕爻鬲貙 賳賴 讴丕賲賱丕 倬乇丿丕禺鬲賴 匕賴賳 賳賵蹖爻賳丿賴 丕爻鬲. 賲孬賱丕 丿乇 芦丕爻鬲丕丿 倬鬲乇夭亘賵乇诏禄 倬爻乇 丿丕爻鬲丕蹖賮爻讴蹖 丿乇 丨丕丿孬賴鈥屫й� 丿乇 卮賴乇 倬鬲乇夭亘賵乇诏 讴卮鬲賴 賲蹖鈥屫促堌� 賵賱蹖 丿乇 賵丕賯毓蹖鬲 倬爻乇禺賵丕賳丿賴 丿丕爻鬲丕蹖賮爻讴蹖 賴蹖趩鈥屬堎傌� 亘賴 丕蹖賳 卮讴賱 賳賲蹖鈥屬呟屫必�. 丿乇 賵丕賯毓蹖鬲 丕蹖賳 倬爻乇 禺賵丿 讴賵鬲爻蹖 丕爻鬲 讴賴 亘賴 卮讴賱 賲卮讴賵讴蹖 丕夭 丕乇鬲賮丕毓 爻賯賵胤 讴乇丿賴 賵 噩丕賳 禺賵丿 乇丕 丕夭 丿爻鬲 丿丕丿賴 丕爻鬲 賵 亘丕 丕蹖賳 讴鬲丕亘 鬲乇丕跇丿蹖 夭賳丿诏蹖 禺賵丿 乇丕 亘丕 鬲丕乇蹖禺 倬蹖賵賳丿 賲蹖鈥屫操嗀�.
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倬丿乇丕賳 賵 倬爻乇丕賳貙 丕夭 丿卮賲賳蹖 鬲丕 賲乇诏貨 讴賵鬲爻蹖 亘賴 乇賵丕亘胤 亘蹖賳 倬丿乇 賵 倬爻乇 賲蹖鈥屬矩必ж藏� 亘賴 讴卮賲讴卮鈥屬囏� 賵 乇賯丕亘鬲 亘蹖賳 丌賳鈥屬囏ж� 亘賴 倬卮蹖賲丕賳蹖 倬丿乇 賵 丿賱鬲賳诏蹖 亘乇丕蹖 倬爻乇蹖 讴賴 丨丕賱丕 丿蹖诏乇 亘乇丕蹖 賴賲蹖卮賴 乇賮鬲賴. 倬丿乇蹖 讴賴 賳爻亘鬲 亘賴 倬爻乇卮 賲賴乇亘丕賳 賳亘賵丿賴 賵 丨丕賱丕 賲蹖鈥屫堌з囏� 噩亘乇丕賳 讴賳丿貙 丕賲丕 賴蹖趩 乇丕賴 噩亘乇丕賳蹖 賵噩賵丿 賳丿丕乇丿貨 趩賵賳 倬爻乇卮 賲乇丿賴 丕爻鬲 賵 賲乇诏 賮乇氐鬲 賴乇诏賵賳賴 噩亘乇丕賳蹖 乇丕 丕夭 丕賵 诏乇賮鬲賴 丕爻鬲. 倬丿乇蹖 讴賴 賴賲 毓夭丕丿丕乇 倬爻乇卮 丕爻鬲 賵 賴賲 毓夭丕丿丕乇 禺賵丿貨 丿乇 丿賳蹖丕蹖 賲賵丕夭蹖賽 丕爻鬲丕丿貙 丕賵 禺賵丿 乇丕 亘丕 趩卮賲丕賳 倬丕賵賱 賲蹖鈥屫ㄛ屬嗀� 丕诏乇 丕爻鬲丕丿 亘鬲賵丕賳丿 亘賮賴賲丿 讴賴 倬丕賵賱 賵丕賯毓丕 丿乇 賲賵乇丿 丕賵 趩賴 賮讴乇 賲蹖鈥屭┴必囏� 卮丕蹖丿 禺賵丿 乇丕 亘賴鬲乇 亘賮賴賲丿...
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讴鬲丕亘蹖 噩匕丕亘 亘賴鈥屫蒂堌� 亘乇丕蹖 丿丕爻鬲丕蹖賮爻讴蹖 禺賵丕賳丿賴鈥屬囏�! 倬乇 丕夭 丕乇噩丕毓丕鬲 亘賴 乇賲丕賳鈥屬囏� 賵 卮禺氐蹖鬲鈥屬囏� 賵 夭賳丿诏蹖 丿丕爻鬲丕蹖賮爻讴蹖. 乇賲丕賳蹖 讴賴 賴賲 亘賴 鬲丕乇蹖禺 賳馗乇 丿丕乇丿 賴賲 亘賴 夭賳丿诏蹖 卮禺氐蹖 讴賵鬲爻蹖貙 亘丕 鬲乇噩賲賴鈥屫й� 丿賯蹖賯 賵 倬丕讴蹖夭賴 賵 賵蹖乇丕爻鬲賴.
賵 賴賲丕賳鈥屫焚堌� 讴賴 爻倬丕爻 乇蹖賵賳丿蹖 丿乇 賲丐禺乇賴 讴鬲丕亘 賳賵卮鬲賴: 丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 丕孬乇蹖 丕爻鬲 亘賴鈥屫贺й屫� 倬蹖趩蹖丿賴 賵 毓賲蹖賯 賵 亘賴 爻丐丕賱丕鬲蹖 賲蹖鈥屬矩必ж藏� 讴賴 亘丕 賲賱丕丨馗丕鬲蹖 賲蹖鈥屫堌з� 丌賳 乇丕 亘賴 夭賳丿诏蹖 賴乇 賮乇丿 丿乇 蹖讴 乇跇蹖賲 爻蹖丕爻鬲丕賸 爻乇讴賵亘诏乇 丕胤賱丕賯 讴乇丿.
禺丕胤乇丕鬲 禺蹖丕賱蹖!
卮禺氐蹖鬲 丕氐賱蹖賽 芦丕爻鬲丕丿 倬鬲乇夭亘賵乇诏禄 賮蹖賵丿賵乇 丿丕爻鬲丕蹖賮爻讴蹖 丕爻鬲 丿乇 丕讴鬲亘乇 佟侉鄱侃貙 丿乇爻鬲 賯亘賱 丕夭 卮乇賵毓 賳賵卮鬲賳 爻賵賲蹖賳 乇賲丕賳卮貙 芦卮蹖丕胤蹖賳禄. 丕爻鬲丕丿 丿乇 丿乇爻丿賳 夭賳丿诏蹖 賲蹖鈥屭┵嗀� 鬲丕 丕蹖賳鈥屭┵� 倬爻 丕夭 賲乇诏 賳丕诏賴丕賳蹖 倬爻乇禺賵丕賳丿賴鈥屫ж簇� 倬丕賵賱貙 丿乇 佟佗 丕讴鬲亘乇 亘賴 爻賳鬲 倬鬲乇夭亘賵乇诏 賮乇丕 禺賵丕賳丿賴 賲蹖鈥屫促堌�. 倬丕賵賱 丿乇 丨丕丿孬賴鈥屫й� 賲卮讴賵讴 丕夭 丕乇鬲賮丕毓 爻賯賵胤 讴乇丿賴 賵 賲乇丿賴貙 丨丕丿孬賴鈥屫й� 讴賴 賲毓賱賵賲 賳蹖爻鬲 禺賵丿讴卮蹖 亘賵丿賴 蹖丕 賯鬲賱. 丿丕爻鬲丕蹖賮爻讴蹖 讴賴 丕夭 丿爻鬲 胤賱亘讴丕乇丕賳 賮乇丕乇蹖鈥屫池� 亘丕 丕爻賲 賵 倬丕爻倬賵乇鬲 噩毓賱蹖 亘賴 倬鬲乇夭亘賵乇诏 賲蹖鈥屫③屫� 爻丕讴賳 丕鬲丕賯 倬爻乇卮 賲蹖鈥屫促堌� 賵 亘丕 賲丕噩乇丕賴丕蹖蹖 爻蹖丕爻蹖 賵 賵丕賯毓蹖丕鬲蹖 丕夭 夭賳丿诏蹖 丕賵 讴賴 亘丕禺亘乇 賳亘賵丿賴 丿乇诏蹖乇 賲蹖鈥屫促堌�.
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乇賵丕蹖鬲 讴鬲丕亘 賳賴 賵丕賯毓蹖鬲 丕爻鬲 賵 賳賴 賯氐賴. 丿乇賵丕賯毓 蹖讴鈥屫池臂� 賵丕賯毓蹖鬲鈥屬囏� 丕夭 夭賳丿诏蹖 丿丕爻鬲丕蹖賮爻讴蹖 诏乇賮鬲賴 卮丿賴 賵 丿乇 賯丕賱亘 賯氐賴 倬乇賵乇丿賴 卮丿賴 丕爻鬲貙 亘賳丕亘乇丕蹖賳 賳賴 丿丕爻鬲丕賳 賵丕賯毓蹖 丕爻鬲貙 賳賴 讴丕賲賱丕 倬乇丿丕禺鬲賴 匕賴賳 賳賵蹖爻賳丿賴 丕爻鬲. 賲孬賱丕 丿乇 芦丕爻鬲丕丿 倬鬲乇夭亘賵乇诏禄 倬爻乇 丿丕爻鬲丕蹖賮爻讴蹖 丿乇 丨丕丿孬賴鈥屫й� 丿乇 卮賴乇 倬鬲乇夭亘賵乇诏 讴卮鬲賴 賲蹖鈥屫促堌� 賵賱蹖 丿乇 賵丕賯毓蹖鬲 倬爻乇禺賵丕賳丿賴 丿丕爻鬲丕蹖賮爻讴蹖 賴蹖趩鈥屬堎傌� 亘賴 丕蹖賳 卮讴賱 賳賲蹖鈥屬呟屫必�. 丿乇 賵丕賯毓蹖鬲 丕蹖賳 倬爻乇 禺賵丿 讴賵鬲爻蹖 丕爻鬲 讴賴 亘賴 卮讴賱 賲卮讴賵讴蹖 丕夭 丕乇鬲賮丕毓 爻賯賵胤 讴乇丿賴 賵 噩丕賳 禺賵丿 乇丕 丕夭 丿爻鬲 丿丕丿賴 丕爻鬲 賵 亘丕 丕蹖賳 讴鬲丕亘 鬲乇丕跇丿蹖 夭賳丿诏蹖 禺賵丿 乇丕 亘丕 鬲丕乇蹖禺 倬蹖賵賳丿 賲蹖鈥屫操嗀�.
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倬丿乇丕賳 賵 倬爻乇丕賳貙 丕夭 丿卮賲賳蹖 鬲丕 賲乇诏貨 讴賵鬲爻蹖 亘賴 乇賵丕亘胤 亘蹖賳 倬丿乇 賵 倬爻乇 賲蹖鈥屬矩必ж藏� 亘賴 讴卮賲讴卮鈥屬囏� 賵 乇賯丕亘鬲 亘蹖賳 丌賳鈥屬囏ж� 亘賴 倬卮蹖賲丕賳蹖 倬丿乇 賵 丿賱鬲賳诏蹖 亘乇丕蹖 倬爻乇蹖 讴賴 丨丕賱丕 丿蹖诏乇 亘乇丕蹖 賴賲蹖卮賴 乇賮鬲賴. 倬丿乇蹖 讴賴 賳爻亘鬲 亘賴 倬爻乇卮 賲賴乇亘丕賳 賳亘賵丿賴 賵 丨丕賱丕 賲蹖鈥屫堌з囏� 噩亘乇丕賳 讴賳丿貙 丕賲丕 賴蹖趩 乇丕賴 噩亘乇丕賳蹖 賵噩賵丿 賳丿丕乇丿貨 趩賵賳 倬爻乇卮 賲乇丿賴 丕爻鬲 賵 賲乇诏 賮乇氐鬲 賴乇诏賵賳賴 噩亘乇丕賳蹖 乇丕 丕夭 丕賵 诏乇賮鬲賴 丕爻鬲. 倬丿乇蹖 讴賴 賴賲 毓夭丕丿丕乇 倬爻乇卮 丕爻鬲 賵 賴賲 毓夭丕丿丕乇 禺賵丿貨 丿乇 丿賳蹖丕蹖 賲賵丕夭蹖賽 丕爻鬲丕丿貙 丕賵 禺賵丿 乇丕 亘丕 趩卮賲丕賳 倬丕賵賱 賲蹖鈥屫ㄛ屬嗀� 丕诏乇 丕爻鬲丕丿 亘鬲賵丕賳丿 亘賮賴賲丿 讴賴 倬丕賵賱 賵丕賯毓丕 丿乇 賲賵乇丿 丕賵 趩賴 賮讴乇 賲蹖鈥屭┴必囏� 卮丕蹖丿 禺賵丿 乇丕 亘賴鬲乇 亘賮賴賲丿...
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讴鬲丕亘蹖 噩匕丕亘 亘賴鈥屫蒂堌� 亘乇丕蹖 丿丕爻鬲丕蹖賮爻讴蹖 禺賵丕賳丿賴鈥屬囏�! 倬乇 丕夭 丕乇噩丕毓丕鬲 亘賴 乇賲丕賳鈥屬囏� 賵 卮禺氐蹖鬲鈥屬囏� 賵 夭賳丿诏蹖 丿丕爻鬲丕蹖賮爻讴蹖. 乇賲丕賳蹖 讴賴 賴賲 亘賴 鬲丕乇蹖禺 賳馗乇 丿丕乇丿 賴賲 亘賴 夭賳丿诏蹖 卮禺氐蹖 讴賵鬲爻蹖貙 亘丕 鬲乇噩賲賴鈥屫й� 丿賯蹖賯 賵 倬丕讴蹖夭賴 賵 賵蹖乇丕爻鬲賴.
賵 賴賲丕賳鈥屫焚堌� 讴賴 爻倬丕爻 乇蹖賵賳丿蹖 丿乇 賲丐禺乇賴 讴鬲丕亘 賳賵卮鬲賴: 丕爻鬲丕丿 倬鬲乇夭亘賵乇诏 丕孬乇蹖 丕爻鬲 亘賴鈥屫贺й屫� 倬蹖趩蹖丿賴 賵 毓賲蹖賯 賵 亘賴 爻丐丕賱丕鬲蹖 賲蹖鈥屬矩必ж藏� 讴賴 亘丕 賲賱丕丨馗丕鬲蹖 賲蹖鈥屫堌з� 丌賳 乇丕 亘賴 夭賳丿诏蹖 賴乇 賮乇丿 丿乇 蹖讴 乇跇蹖賲 爻蹖丕爻鬲丕賸 爻乇讴賵亘诏乇 丕胤賱丕賯 讴乇丿.
October 30, 2020
Vis懦 pirma, 拧i膮 knyg膮 jau seniai buvau nusi啪i奴r臈j臋s, tiktai buvo kil臋 abejoni懦 ar verta pirkti, ar patiks, o gal nelabai. Nes juk b奴na, kad nusiperki knyg膮 ir atrodo tikrai patiks, bet pradedi skaityti ir ka啪kaip nuomon臈 kardinaliai pasikei膷ia. Visa tai nutiko ir su 拧ia knyga. Tik臈jausi, kad bus tikrai i拧samus aplinkos bei veik臈j懦 charakteri懦 apra拧ymas, ta膷iau viso to pasigedau. Apie Peterburg膮 ir veik臈jus supan膷i膮 aplink膮, buvo para拧yta labai pavir拧utini拧kai.
Nors pati knygos id臈ja man patiko. Veiksmas knygoje vyksta 1869 metais ruden寞. I拧 Vokietijos 寞 Peterburg膮 atvyksta sielvartaujantis t臈vas, norintis i拧siai拧kinti savo 寞s奴nio mirties prie啪astis. Apsistoja 寞s奴nio nuomotame kambaryje pas viena pagyvenusi膮 moter寞 ir d臈v臈damas jo r奴bus stengiasi i拧siai拧kinti d臈l koki懦 prie啪as膷i懦 jaunuolis mir臈.
Beskaitant knyg膮, pama啪u supranti, kad t臈vas tai Fiodoras Dostojevskis. Knygoje gilinamasi 寞 vaik懦 ir t臈v懦 konflikt膮, vyro ir moters nesantuokinius ry拧ius. Knygoje pilna machinacij懦 b奴ding懦 slav懦 tautoms, vyrauja revoliucijos nuotaikos, bandymas kovoti u啪 savo 寞sitikinimus. Kurinys 寞domus, perskaityti verta, ta膷iau nemanau, kad i拧likt懦 atmintyje ilgai.
Nors pati knygos id臈ja man patiko. Veiksmas knygoje vyksta 1869 metais ruden寞. I拧 Vokietijos 寞 Peterburg膮 atvyksta sielvartaujantis t臈vas, norintis i拧siai拧kinti savo 寞s奴nio mirties prie啪astis. Apsistoja 寞s奴nio nuomotame kambaryje pas viena pagyvenusi膮 moter寞 ir d臈v臈damas jo r奴bus stengiasi i拧siai拧kinti d臈l koki懦 prie啪as膷i懦 jaunuolis mir臈.
Beskaitant knyg膮, pama啪u supranti, kad t臈vas tai Fiodoras Dostojevskis. Knygoje gilinamasi 寞 vaik懦 ir t臈v懦 konflikt膮, vyro ir moters nesantuokinius ry拧ius. Knygoje pilna machinacij懦 b奴ding懦 slav懦 tautoms, vyrauja revoliucijos nuotaikos, bandymas kovoti u啪 savo 寞sitikinimus. Kurinys 寞domus, perskaityti verta, ta膷iau nemanau, kad i拧likt懦 atmintyje ilgai.
March 30, 2019
3,5
螚 蟺蟻蠋蟿畏 渭慰蠀 蔚蟺伪蠁萎 渭蔚 蟿慰谓 螝慰蠀蟿蟽喂. 螆谓伪 伪蟻魏蔚蟿维 蔚谓未喂伪蠁苇蟻慰谓 尾喂尾位委慰 . 螤慰蠀 魏伪蟿伪蟺喂维谓蔚蟿伪喂 渭蔚 魏维蟺慰喂伪 伪蟺蠈 蟿伪 蟽蟺慰蠀未伪喂蠈蟿蔚蟻伪 胃苇渭伪蟿伪 蟿畏蟼 蟺伪纬魏蠈蟽渭喂伪蟼 伪蠁萎纬畏蟽畏蟼 . 韦喂 蟽蠂苇蟽畏 渭蔚蟿伪尉蠉 纬慰谓苇蠅谓 魏伪喂 蟺伪喂未喂蠋谓, 蟿畏谓 蟽蠂苇蟽畏 渭蔚蟿伪尉蠉 伪位萎胃蔚喂伪蟼 魏伪喂 蠄苇渭伪蟿慰蟼, 蟿畏谓 蟽蠂苇蟽畏 蔚尉慰蠀蟽委伪蟼 伪谓维渭蔚蟽伪 蟽蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼, 蟿畏谓 蟽蠂苇蟽畏 谓喂维蟿慰 魏伪喂 纬畏蟻伪蟿蔚喂蠋谓, 蟿畏谓 蟽蠂苇蟽畏 蟽蠀谓蟿萎蟻畏蟽畏蟼 魏伪喂 蟺蟻慰慰未蔚蠀蟿喂蟽渭慰蠉, 伪位位维 魏蠀蟻委蠅蟼 蟿畏谓 蟺蟻慰未慰蟽委伪 伪谓维渭蔚蟽伪 蟽蔚 伪蠀蟿苇蟼 蟿喂蟼 蟽蠂苇蟽蔚喂蟼.
螚 蟺蟻蠋蟿畏 渭慰蠀 蔚蟺伪蠁萎 渭蔚 蟿慰谓 螝慰蠀蟿蟽喂. 螆谓伪 伪蟻魏蔚蟿维 蔚谓未喂伪蠁苇蟻慰谓 尾喂尾位委慰 . 螤慰蠀 魏伪蟿伪蟺喂维谓蔚蟿伪喂 渭蔚 魏维蟺慰喂伪 伪蟺蠈 蟿伪 蟽蟺慰蠀未伪喂蠈蟿蔚蟻伪 胃苇渭伪蟿伪 蟿畏蟼 蟺伪纬魏蠈蟽渭喂伪蟼 伪蠁萎纬畏蟽畏蟼 . 韦喂 蟽蠂苇蟽畏 渭蔚蟿伪尉蠉 纬慰谓苇蠅谓 魏伪喂 蟺伪喂未喂蠋谓, 蟿畏谓 蟽蠂苇蟽畏 渭蔚蟿伪尉蠉 伪位萎胃蔚喂伪蟼 魏伪喂 蠄苇渭伪蟿慰蟼, 蟿畏谓 蟽蠂苇蟽畏 蔚尉慰蠀蟽委伪蟼 伪谓维渭蔚蟽伪 蟽蟿慰蠀蟼 伪谓胃蟻蠋蟺慰蠀蟼, 蟿畏谓 蟽蠂苇蟽畏 谓喂维蟿慰 魏伪喂 纬畏蟻伪蟿蔚喂蠋谓, 蟿畏谓 蟽蠂苇蟽畏 蟽蠀谓蟿萎蟻畏蟽畏蟼 魏伪喂 蟺蟻慰慰未蔚蠀蟿喂蟽渭慰蠉, 伪位位维 魏蠀蟻委蠅蟼 蟿畏谓 蟺蟻慰未慰蟽委伪 伪谓维渭蔚蟽伪 蟽蔚 伪蠀蟿苇蟼 蟿喂蟼 蟽蠂苇蟽蔚喂蟼.
May 8, 2020
禺賵丕賳丿賳 蹖毓賳蹖 丕蹖賳讴賴 卮賲丕 賴賲鈥� 丿爻鬲 亘丕卮蹖丿貙 賴賲 鬲亘乇 賵 賴賲 噩賲噩賲賴. 禺賵丕賳丿賳 賵丕賳賴丕丿賳 禺賵蹖卮 丕爻鬲貙 賳賴 丿賵乇 丕蹖爻鬲丕丿賳 賵 乇蹖卮禺賳丿鈥屭┴必�!
August 1, 2018
Il compito che mi 猫 stato affidato: serbare nel cuore e mettere insieme le disiecta membra. Poeta, suonatore di lira, incantatore, signore della resurrezione, 猫 questo il mio compito. E la verit脿? Spalle rigide e curve su una scrivania e il dolore di un cuore che batte lentamente. Un cuore di tartaruga. Sono arrivato troppo tardi per sollevare il coperchio del sepolcro, troppo tardi per baciarti la fronte fredda e liscia. Se la mie labbra, sensibili come i polpastrelli di un cieco, avessero potuto sfiorarti almeno una volta, non avresti lasciato il mondo con quel rancore per me. Ma te ne sei andato via, col nome di Isaev e io, vecchio uomo, vecchio pellegrino, resto qui, ti seguo a distanza, inseguo un'ombra viola sul grigio, un'eco.
Coetzee 猫 capace di immedesimarsi veramente nei suoi personaggi. Lo ha fatto con Elizabeth Costello e con la protagonista di Nel cuore del paese. E lo ha fatto anche con Dostoevskij, che non 猫 un semplice fantoccio creato dalla mente dell鈥檃utore, bens矛 un vero e proprio essere umano, reale, che ha vissuto. Coetzee gli d脿 voce, ed 猫 una voce che sembra presa direttamente dai romanzi di F毛dor. Ci sono il ritmo delle frasi, la frenesia delle parole o la lentezza dei pensieri, il tono bituminoso dei testi, le numerose discussioni con il s猫. Eppure, il tutto mi 猫 parso un po鈥� lento, all鈥檌nizio. Forse proprio perch茅 Coetzee 猫 riuscito a rendere i modi di Dostoevskij. Ci貌 mi ha rallentato. Mi immaginavo i giochi di parole e i continui rivolgimenti di discorsi alla Elizabeth Costello, ed invece ho trovato i pensieri fissi di uno scrittore che, di fronte alla morte sospetta del figlioccio, combatte con la propria ombra, con il mondo del figlio, con i conoscenti del figlio. E, nello stesso momento, deve capire come affrontare la perdita di una persona che era importante per lui, anche se questa persona non lo sapeva. Un discorso doloroso, certo, ma che scava nell鈥檌ntimo umano come fanno i romanzi di F毛dor.
Per quanto pu貌 andare avanti ad aspettare un fantasma?
Libro letto per la All-over-The-World Book Challenge perch茅 ambientato in Russia 馃嚪馃嚭 (San Pietroburgo)
Coetzee 猫 capace di immedesimarsi veramente nei suoi personaggi. Lo ha fatto con Elizabeth Costello e con la protagonista di Nel cuore del paese. E lo ha fatto anche con Dostoevskij, che non 猫 un semplice fantoccio creato dalla mente dell鈥檃utore, bens矛 un vero e proprio essere umano, reale, che ha vissuto. Coetzee gli d脿 voce, ed 猫 una voce che sembra presa direttamente dai romanzi di F毛dor. Ci sono il ritmo delle frasi, la frenesia delle parole o la lentezza dei pensieri, il tono bituminoso dei testi, le numerose discussioni con il s猫. Eppure, il tutto mi 猫 parso un po鈥� lento, all鈥檌nizio. Forse proprio perch茅 Coetzee 猫 riuscito a rendere i modi di Dostoevskij. Ci貌 mi ha rallentato. Mi immaginavo i giochi di parole e i continui rivolgimenti di discorsi alla Elizabeth Costello, ed invece ho trovato i pensieri fissi di uno scrittore che, di fronte alla morte sospetta del figlioccio, combatte con la propria ombra, con il mondo del figlio, con i conoscenti del figlio. E, nello stesso momento, deve capire come affrontare la perdita di una persona che era importante per lui, anche se questa persona non lo sapeva. Un discorso doloroso, certo, ma che scava nell鈥檌ntimo umano come fanno i romanzi di F毛dor.
Per quanto pu貌 andare avanti ad aspettare un fantasma?
Libro letto per la All-over-The-World Book Challenge perch茅 ambientato in Russia 馃嚪馃嚭 (San Pietroburgo)
August 25, 2021
Dostoevsky as the protagonist of this book is not a person you would like to meet.
I feel the repetition of a theme that Coetzee addressed elsewhere - the damnation of being a Writer. The weight of talent, which is too much for a human being to bear. Excellent recreation of the atmosphere of (mostly fictional) St Petersburg
I feel the repetition of a theme that Coetzee addressed elsewhere - the damnation of being a Writer. The weight of talent, which is too much for a human being to bear. Excellent recreation of the atmosphere of (mostly fictional) St Petersburg
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